<blockquote><h1>“Whenever I try to script something, the moment I start drawing on the page all those plans go out the window.”</h1></blockquote> You often start drawing without a set script, letting the story emerge naturally. How do you navigate the uncertainty of this process?CW: "Writing is always an act of improvisation and uncertainty, and in comics limiting oneself to only words ignores half of the thinking (i.e. drawing) itself. Besides, whenever I try to script something, the moment I start drawing on the page all those plans go out the window, because the things invoked by a remembered setting or person opens up so many more interesting possibilities and intuited pathways. I’ve found that the mind is an extraordinarily organized thing, governed by language, and it’s my role not to impose an order on it but to find an order that best suits it — or, even better (if this doesn’t sound too pretentious) to find the shape of the order itself.This said, I get up and down from my drawing table several dozen times a day, consumed by despair, so who knows if I’m approaching it all correctly."&nbsp;<blockquote><h1>“I get up and down from my drawing table several dozen times a day, consumed by despair...”</h1></blockquote>

<blockquote><h1>“I tend to go half blind when doing comics. I try to use every inch of the page so the reader doesn’t feel ripped off.”&nbsp;</h1></blockquote> The detail in your work is extraordinary, often requiring careful, repeated reading. What attracts you to such an intricate approach to storytelling? And how do you know when a page is ‘done’ or if it still needs more work?CW: "Again, I work almost entirely instinctually and intuitively, trying to ‘listen’ to how something feels or looks rather than worrying whether it suited whatever imaginary reason I had for originally doing it, since those reasons are usually pretty shallow and silly. It’s fine to have these imaginary reasons, but they’re really only a prompt to work; once one sets into that work, then everything changes, and the real thing begins.As for detail, I don’t want the reader to be disappointed and I’d like for my pages to have varying levels of texture; as a kid I’d climb trees in my grandparents’ yard and find myself fascinated by the leaves or horse chestnuts or the green worms that dangled from them, and I want my stuff to at least hint at that level of life, if possible. Though I am well aware that I push the limits of legibility, for which I feel badly. It’s not intended as torture, and I’m trying to be more sensitive to this and, well, legible."&nbsp;<blockquote><h1 style="margin-left:0px;">"I have this compulsion to not cheat anyone, but it’s not intended to make it non-readable."&nbsp;</h1></blockquote>&nbsp;You've often expressed a fascination with the book as an object. How does the physical form influence the way you tell stories? Have you ever considered working in a digital-only medium, and how might that change your creative approach?CW: “This is sort of a dumb comparison, but the ‘return to vinyl’ in the world of recorded music points to a similar inclination: there’s something extremely unsatisfying and anxiety-provoking about only having a computer file of something. The physicality of a book points not only to the poetic uncertainty that we as humans harbor as souls trapped in bodies, but also seems to offer a slight, however false, reassurance of certainty as we all head towards our inevitable ends. I think it also has something to do with social awkwardness; lonelier-feeling people like me seem to tend to prefer something physical, maybe. i.e., we tend to be hoarders, insulating ourselves with things against — something.”

<blockquote><h1>“I always forget whenever I sit down to work just how time-consuming and difficult it is, even though I’ve been doing it for 35 years.”</h1></blockquote> What do you find most challenging about maintaining creativity over long projects like ‘Building Stories’ or ‘Rusty Brown’? Are there specific routines or techniques that help you overcome creative blocks?&nbsp;CW: “I find that I have to trick myself into overcoming self-doubt and despair and sometimes this just means scribbling on the page and seeing what I find in it, or even, if I’m lucky, actually getting one panel drawn; both of these approaches can make a huge difference. I always forget whenever I sit down to work just how time-consuming and difficult it is, even though I’ve been doing it for 35 years. Also: the great cartoonist Kim Deitch has a method where he sets a timer as a sort of self-shaming mechanism to keep him in his chair, which I’ve found also works. Like anything, one has to stay focused, at least for a little while, until something catches, because there’s little to no ‘flow’ in writing comics, at least the way I do them — though believe me, I’ve tried.”&nbsp;Your style is distinct, but clearly nods to classic comic traditions and other forms of art. You've been quoted saying: "Everything is inspired by Joost Swarte." Which other artists or storytellers have influenced you the most, and how do their influences manifest in your work?&nbsp;CW: “Joost’s clarity and precision is not just a style but seems to point to how we remember the world — as word-images that we sort of impose on our experience as a way of identifying and navigating reality, if that doesn’t sound too crazy. Of course he was preceded in this by Hergé and Saint-Ogan and Bateman — and Japanese art — but when I was a teenager and I first saw Joost’s work, something ‘clicked’ in my mind.&nbsp;As for other artists, I’ve answered that question so many times I’ve learned not to since I always leave out someone key; I’ve edited two comics anthologies which serve as good lists, though there’s a whole new generation of cartoonists now, and since we’re discussing European artists, I think Olivier Schrauwen’s ‘Sunday’ is a work of genius and couldn’t recommend it more highly.”

<blockquote><h1>"Art has to have a life of its own."</h1></blockquote> Your narratives often feel raw and vulnerable, tackling personal or difficult themes. How do you cope with the vulnerability of sharing such personal stories with the world?&nbsp;CW: “An artist who isn’t willing to embarrass or mortify oneself is doing something that maybe is tangential to art (and, especially, life). What John Updike called ‘hidden secrets’ and Kubrick referred to as invoking affection in the viewer/reader is for what I aim — for better or for worse. Art has to have a life of its own. Anything else creative can live for as long as it has some sort of ancillary life-support, like fashion, but once that plug is pulled, it will either die — or maybe start to breathe on its own.” The comic art landscape has changed significantly over the past few decades. How do you perceive the current state of comics and graphic novels? Are there any trends that excite or concern you?&nbsp;CW: “I’m impressed at how the last couple of cartoonist generations have shifted more towards the drawing / looking end of the spectrum but still make compelling and literate work, work which has a quality to it that someone like me, who thinks of a story as its core, misses out on. In some ways, the stuff is closer to what I was doing in my early twenties, and I’ve tried to allow a little of that back in, inspired by younger artists’ examples.”<blockquote><h1>“I can’t imagine AI wasting its time being ‘trained’ on comics”</h1></blockquote>AI tools are now capable of generating comics. Have you ever tried creating a comic ‘in the style of Chris Ware’ using AI, and what was your reaction?CW: "At least for the moment, the best comics are AI-proof, whereas a comic page can be shallowly visually and textually imitated, the rhythms and gestures and ineffable sensations that literate and sensitive cartoonists evoke on a page through the reading of pictures — which I think is what the real life of comics is — are not. Though it doesn’t really matter since I can’t imagine AI wasting its time being ‘trained’ on comics anymore than the general human populace has been; we cartoonists do a very strange, outer-orbit thing, and in the planet’s larger trend towards becoming conscious and eventually getting rid of we worker-ant humans, comics play a laughably insignificant role."

<blockquote><h1>“Sometimes I manage to recapture that sense I had as a kid gluing together pieces of construction paper in my grandmother’s basement…”</h1></blockquote> Has the creative process changed for you over time—does it ever get easier, or is it always the same grueling effort? And if it's still challenging, what motivates you to keep pushing through?CW: “It doesn’t get easier, though I guess if it did, I’d be worried. Sometimes I manage to recapture that sense I had as a kid gluing together pieces of construction paper in my grandmother’s basement, but such sensations are always fleeting. Besides, I’m not even sure what I was thinking and feeling as a kid other than I didn’t have a lot to work against, which really is something of an advantage, because 99% of personal epiphany is (I think) born of ignorance. Mostly I find myself buoyed by surprise, i.e. something turning up on the page I least expected, no matter how horrible or damning; everything else is just self-deception.”

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This summer, we had the pleasure of meeting Chris Ware, the celebrated graphic novelist behind Building Stories and Rusty Brown, during a guided tour he gave in Haarlem. Later in the year, we reconnected, and he graciously shared more about his creative journey. With his intricate designs and unflinching emotional depth, Ware’s work pushes the boundaries of what comics can achieve.In this conversation, he opens up about his creative process—improvising without a script, navigating self-doubt, and finding meaning in the physicality of books. For anyone fascinated by the mysteries of creativity, Ware’s insights offer a rare and honest glimpse into the joys, struggles, and surprises of bringing stories to life.

BUILDING STORIES: CHRIS WARE REFLECTS ON COMICS, CREATIVITY, AND CRAFT

<h1>Why does fear hold us back?&nbsp;</h1>&nbsp;Fear is a universal experience, rooted in our instincts. While it once helped us survive physical threats, today, it often shows up in less dangerous contexts— public speaking, creative challenges, or pitching ideas. This response, known as the "freeze" can be paralyzing.&nbsp;I know this all too well. At age 8, I attended a live show based on the UK TV game show Double Dare. The host picked children from the audience to participate in silly challenges. I spent the whole show alternating between dread that I’d be chosen and euphoric relief when someone else’s name was called.&nbsp;The fear of being publicly humiliated consumed me. Looking back, I wonder what might have happened if I’d been brave enough to get on stage. Maybe I would have fallen flat on my face, or maybe I would have discovered a knack for performance. I’ll never know because fear won that day.&nbsp;The same fear often rears its head in creative work. It’s easier to stay safe, to avoid risks, and to rely on familiar solutions. But playing it safe limits creativity. The best ideas come from stepping into the unknown.

<h1>What is Creative Resilience?&nbsp;</h1>&nbsp;Creative resilience is the ability to adapt, persist, and grow in the face of challenges and setbacks. It’s what helps us navigate the creative process despite fear or failure.&nbsp;Fear in creativity often stems from:&nbsp;Fear of failure: A deeply ingrained habit from years of being taught that mistakes have dire consequences.&nbsp;Uncertainty: The unpredictable reactions of peers, clients, or audiences.&nbsp;Rejection: Emotional investment in our work makes criticism feel personal.&nbsp;Creative resilience isn’t about eliminating fear but learning to move forward despite it. It’s a skill that allows us to take risks, experiment, and bounce back when things don’t go as planned.

<h1>How can you cultivate resilience?&nbsp;</h1>&nbsp;1. Start with the fear of failure&nbsp;Our brains are wired to overinflate threats. Every time we avoid something because of fear, we reinforce that it’s dangerous. We need a manual override.Fear of failure often comes from the way we’ve been conditioned. Many education systems reward getting things ‘right’ and punish mistakes, leaving us with an aversion to risk. In creative work, this mindset is a barrier to innovation.How to confront the fear of failure:&nbsp;Take micro-risks:&nbsp;Do something small that scares you every day. Share an idea in a meeting, introduce yourself to someone new, or post on social media. These “moments of playfulness” chip away at fear.&nbsp;Reflect on outcomes:&nbsp;Was the fear justified? What did you learn? Often, the experience is less catastrophic than we imagine.&nbsp;Reframe risk as curiosity:&nbsp;Instead of thinking about failure, focus on the potential to discover something new.&nbsp;Engaging in small, deliberate acts of bravery builds confidence. Over time, stepping into the unknown becomes less daunting.

2. Practice self-compassion&nbsp;Treat yourself with the same kindness you’d show a close friend. Self-compassion creates a safe environment for creativity to thrive.&nbsp;Creative work can be emotionally draining, especially when things don’t go as planned. The pressure to be perfect often leads to harsh self-criticism, which only stifles growth.How to build self-compassion:&nbsp;Acknowledge emotions: When frustration or self-doubt arises, notice and name those feelings.&nbsp;Shift your perspective: Ask yourself how you’d respond if a friend were in the same situation. Would you berate them or offer encouragement?&nbsp;Celebrate progress: Creative journeys aren’t linear. Take time to acknowledge achievements, even small ones.&nbsp;By fostering self-compassion, you create a mental space where risks feel less intimidating, and mistakes become learning opportunities.

3. Learn to handle feedback&nbsp;Feedback is not a reflection of your worth. It’s an opportunity to refine and improve your work.&nbsp;Feedback is essential for creative growth, but it can be tough to hear. Emotional investment in our work makes criticism feel personal, triggering defensiveness or self-doubt.&nbsp;Strategies for embracing feedback:&nbsp;Separate self-worth from work: Remind yourself that criticism is about the project, not you.&nbsp;Seek actionable insights: Ask for specific feedback to avoid vague or overly critical responses.&nbsp;Pause and reflect: Notice your initial emotional response but don’t act on it immediately.&nbsp;The more you expose yourself to constructive criticism, the easier it becomes to see feedback as a tool for improvement rather than a threat.

<h1>Why does resilience matter in creativity?&nbsp;</h1>&nbsp;To be creative, you need to be free to play and experiment without fear of the consequences. As John Cleese said, ‘You’re either free to play or you’re not.’&nbsp;Playfulness is at the heart of creativity. It’s what allows us to explore, take risks, and push boundaries. Fear stifles that freedom.Building creative resilience helps you:&nbsp;Move beyond fear to embrace experimentation.&nbsp;Recover quickly from setbacks.&nbsp;Approach challenges with curiosity and confidenceWhen you cultivate resilience, you unlock the ability to think boldly and deliver work that stands out.

<h1>Putting it all together&nbsp;</h1>&nbsp;Creative resilience isn’t built overnight. It requires practice, reflection, and a willingness to confront discomfort. But the rewards are immense: greater confidence, stronger ideas, and the freedom to explore your full creative potential.&nbsp;So, the next time fear whispers in your ear, remember, it’s just a part of the process. Take a deep breath, show yourself compassion, and step forward anyway. Each small step you take, despite fear or discomfort, strengthens your creative resilience. Embrace the unknown, experiment boldly, and trust that even failure is a valuable teacher. The process of building resilience isn’t just about surviving creative challenges—it’s about thriving in them, unlocking possibilities, and ultimately discovering what you’re truly capable of.

David Thompson, Senior Lecturer in Creative Advertising at the University of Lincoln<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/1662999980848_70fc4a0f5d.jpeg" alt="1662999980848.jpeg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_1662999980848_70fc4a0f5d.jpeg 156w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_1662999980848_70fc4a0f5d.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_1662999980848_70fc4a0f5d.jpeg 750w," sizes="100vw">

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Creativity is an exciting journey, but it’s not without its challenges. David Thompson, Senior Lecturer in Creative Advertising at the University of Lincoln, explores how to overcome the fears that can hold us back. Through personal stories and practical advice, Thompson inspires us to take risks, bounce back from setbacks, and unlock our full creative potential. Consider this article a powerful reminder that resilience is the key to thriving in creativity.

CREATIVE RESILIENCE: OVERCOMING FEAR AND THRIVING IN CREATIVITY

<blockquote><h1>"I don’t wait for inspiration but treat my art like the job that it is."</h1></blockquote>&nbsp;What sparked your interest in drawing?NV: “I don’t come from a family of artists or creative people, but even as a child, I was always drawing. I was particularly fascinated by comics. I would copy Disney comics and Mickey Mouse when I was very young. As a teenager, I became more interested in Japanese manga, which further fueled my passion for drawing.Here in Italy, you can enroll in an art-focused high school, and there, I was first introduced to the art world. I eventually continued my education at the Academy of Fine Arts, studying design and photography.My style during art school was heavily influenced by illustration and comics, but at the same time, I was also exploring materials and techniques to see what worked best for me. I was particularly interested in analog photography, and in my research, I zoomed in on the future of analog images in a digital era. This sparked my interest in photography and how it is both a physical object and a fleeting digital memory.”

The vintage photos became your first canvas, right?NV: “Yes, I began working directly on vintage photographs back in 2013. I started out by collecting old photos from markets and eBay and then painting and drawing directly on top of them. My aim was, on the one hand, to preserve the memory of the unknown individuals in these photos while giving them a new life. The work caught the attention of gallery owners and curators, which boosted my career as a professional artist.”&nbsp;We also interviewed <a href="https://www.tioc.nl/article/ERIK-KESSELS:-PERSONALITY-OVER-PORTFOLIO">Erik Kessels</a>, who creates artwork with found photographs. I wonder if you ever feel uncomfortable manipulating vintage photographs?NV: “I don’t feel discomfort because I don’t know the people in the photos, which creates emotional distance. For me, the challenge lies in working with the original, historical objects rather than copies. The manipulation serves as a bridge between past and present, creating a dialogue through art.”

<blockquote><h1>"Activism is an essential part of my work, particularly in critiquing the objectification of women in fashion magazines."</h1></blockquote>&nbsp;Why did you transition from working on vintage photographs to magazines?NV: “In 2017, I participated in the 100 Days Project on Instagram, where I shared one magazine page transformation each day. However, my interest in working on magazines began earlier, when I was a design student in 2002, turning models in magazines into monsters to critique their objectification. By 2017, I had a clearer artistic style, and the project evolved into a visual diary addressing themes like anti-capitalism and feminism. This work resonated with people, and I began conducting workshops to involve entire communities in the creative process.”

Can you elaborate on the activist element in your work?NV: “I’ve spent a large amount of time in Milan, the fashion capital of the world, and you see firsthand that it’s not all glitz and glamour. There is a darker side to it all. One that I address in my work.Activism is an essential part of my work, particularly in critiquing the objectification of women in fashion magazines. I believe in transforming frustration into creativity, and I use art as a tool for discussion. By manipulating these magazine images, I can address topics like feminism, anti-capitalism, and climate change in a visually engaging way using the very source of that frustration: the fashion magazines themselves. I encourage others to use art to express their views and turn their frustrations into meaningful creations. It’s very therapeutic and beats staying frustrated about something.”

<blockquote><h1>“My training and experience have helped me work efficiently and avoid creative blocks.”</h1></blockquote>&nbsp;What does your creative process look like?NV: “For smaller works like vintage photos, I start by selecting a group of pictures and working on them as a series to maintain aesthetic and stylistic consistency. For magazines, I can complete one page in about an hour. I don’t wait for inspiration but treat my art like the job that it is, planning and creating within specific timeframes to maintain productivity. I didn’t always work as a full-time artist, so I had to plan my creative endeavors around my work schedule. I got used to planning my work, and that has certainly paid off. My training and experience have helped me work efficiently and avoid creative blocks.”&nbsp;What is the most challenging part of the artistic process for you?NV: “Sometimes, I dislike my own work, but I’ve learned to share it regardless to gauge public reaction. Interestingly, people often love the pieces I dislike, which helps me see my work in a new light. Commissioned projects can also be challenging because of specific client guidelines, but in the end, seeing satisfied clients makes the effort worthwhile.”

What are your favorite tools or materials to work with?NV: “I love using acrylics, gel pens, stickers, and washi tape (a type of rice paper tape). These materials remind me of my childhood and are quick and easy to work with, which suits my process.”&nbsp;You’re a trained photographer and designer, but your work merges different genres. How would you describe your work?NV: “My style is a combination of photography, illustration, and collage. My preferred color palette is neons and pastels. I often start with photography and transform it into something new through my manipulations. It’s difficult to categorize my work strictly, as it blends elements from different mediums.”&nbsp;Does working with other photographers’ images inspire you to create more of your own?NV: “I’ve experimented with self-portraits and manipulating my own photographs, but it initially caused me anxiety. In the future, I’d like to work on portraits of friends and family, as knowing the subjects personally could offer new creative possibilities. I’m not rushing the process, though, as I believe each project comes at the right time.”

<blockquote><h1>“I believe in transforming frustration into creativity, and I use art as a tool for discussion.”</h1></blockquote>&nbsp;You are very active on social media. Do you have advice for artists trying to gain visibility online?NV: “Research is key. Follow artists whose work you admire and study where they exhibit or are featured. Consistently produce and share your work, but don’t obsess over views or comparisons. Focus on building a solid portfolio and creating an online presence, such as a blog or website, to showcase your work. Visibility takes time, so stay consistent and be patient.You also have to take initiative. I work with quite a few brands, and in the beginning, I reached out to brands, showing them how I used their products in my work. This led to collaborations, such as workshops with a Japanese washi tape brand. Over time, as my visibility grew, brands began contacting me directly. It’s a good idea for artists to start with small collaborations, such as with art supply stores or local brands, to build relationships and gain experience.”&nbsp;You spent a good amount of time traveling all over Europe to do workshops. Does all that travel and teaching ever take time away from your art?NV: “I’ve found a balance between workshops and my own art. Workshops allow me to connect with communities and share my process, which is an important part of being an artist. I also work on commissions, ensuring I’m always creating art in some capacity.”

<blockquote><h1>"The creative journey never ends, and I’m excited to see where it takes me."</h1></blockquote>&nbsp;What’s next for you?NV: “I’ll continue exploring new techniques and possibly work more on portraits of people I know. I’m also interested in opportunities to collaborate, such as residencies and workshops in different locations. The creative journey never ends, and I’m excited to see where it takes me.”

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Italian artist <a href="https://naomivona.art/">Naomi Vona</a>, a self-described “archival parasite,” transforms vintage photographs, postcards, and magazines into eye-catching works of art. Armed with acrylic paint, washi tape, stickers, and gel pens, she blends analog photography, collage, and illustration into bold creations. Through her innovative style, Vona explores themes of identity, feminism, and nostalgia, crafting pieces that are both visually stunning and deeply thoughtful: a reimagining of found visuals into vibrant, meaningful narratives.

TURNING PAGES: NAOMI VONA’S CREATIVE JOURNEY

Since then, Hoeke has established herself as a leading columnist for outlets like De Volkskrant. Her distinctive voice, characterized by a blend of humor, personal insight, and social critique, has earned her a loyal following. Beyond her solo achievements, Hoeke is part of a dynamic duo with husband Marcel van Roosmalen, a prominent journalist and satirist. Together, they also bring their unique perspectives and humor to the stage, sharing engaging anecdotes and reflections that offer audiences an intimate look at their lives and careers. We sat down with Hoeke to discuss her career and how creativity has helped her face challenges and professional setbacks.&nbsp;<blockquote><h1>“I learned that while creativity is essential, you also have to figure out how to make a living.”</h1></blockquote>&nbsp;Let’s go back to the source: your family. Did you grow up in a creative environment?EH: “My father [Ed. Rob Hoeke] was a boogie-woogie and blues pianist who performed in bars across the country. He taught me that creativity could be a guiding force in life, but he didn’t emphasize material success. My father even had a disdain for money, often telling us that life was all about people, not profits. My mother, however, came from a family of gardeners who commercialized their skills. That mix of pure artistry and entrepreneurial mindset gave me a balanced perspective. I learned that while creativity is essential, you also have to figure out how to make a living.”

What were you like as a child? Did you have any creative outlets?EH: “I was always creating, whether it was drawing, listening to music, or making magazines. One of my favorite memories is producing a satirical women’s magazine with my cousin. We mocked the extravagant makeovers and the caricature-like personas of editors. It was a way to express ourselves and critique societal norms in a playful manner.I also remember charging people 10 cents to visit the little ‘museum’ I had created in my bedroom. To me, creativity was play, but there was always a pragmatic side to it. It was a way to explore the world.”&nbsp;<blockquote><h1>"Writing can be a solitary, often contemplative process. It often brings out a certain melancholic tone."</h1></blockquote>&nbsp;What motivated your choice to study journalism?EH: “I wasn’t entirely sure what I wanted to do. After finishing high school, I considered fields like history or social work. In the end, I followed my best friend, who had decided to study journalism. But I didn’t get in at first and spent a year working odd jobs. Looking back, I didn’t have a clear plan—it was more about exploring options and figuring out what felt right.As a child I loved observing people and creating what in hindsight I’d call satirical content. Those elements definitely carried over into my journalism and columns. Humor and observation are still my primary tools. I enjoy digging into societal trends, finding the absurdities, and presenting them in a way that makes people think and laugh.”

What is your creative process like as a columnist?EH: “Writing can be a solitary, often contemplative process. It often brings out a certain melancholic tone, even if that doesn’t fully reflect my personality. I have to be mindful not to overindulge in that mood because I’m not just about falling leaves, red wine and Nick Cave records. Life is dynamic — sometimes it’s Spring, and sometimes it’s Fall — and in my writing I need to capture that balance.”&nbsp;Do you always have ideas for your columns?EH: “Not always! Like any writer, there are days when I sit behind the computer and think, Now what? It’s natural to hit a creative wall. But I’ve learned to rely on experience to get me through those moments. Sometimes it’s about observing the world around you and finding inspiration in the smallest details.”&nbsp;You’ve decided to pay it forward and teach others, at your kitchen table, to learn how to write. What do you aim to teach?EH: “My workshops focus on the power of words — how small adjustments in tone or phrasing can completely shift the impact of a message. This applies to writing columns, but also to everyday communication. My goal is to help people articulate their thoughts clearly and effectively, whether they’re crafting an article or addressing a personal conflict.”

<blockquote><h1>"When you're knocked down, you learn to get back up — stronger and with a better understanding of your own boundaries.”</h1></blockquote>&nbsp;Speaking of conflict: how did you handle pushback after being fired early in your career?EH: “It was a tough experience and a major blow to my confidence. The public criticism was overwhelming, and I felt very isolated at the time. I went through a period of doubt and second-guessing myself. But I realized that setbacks like these can also be transformative. They force you to confront your vulnerabilities and find strength within yourself. Over time, I rebuilt my career, starting fresh as a freelance columnist, and I’m stronger for it.”&nbsp;We spoke to other creatives, including Erik Kessels, who at some point in their career have met with public scrutiny of their work. How has that experience effect your create process? If at all?EH: There was a time when public criticism, particularly on social media, was overwhelming. It made me cautious in my creative process, which I regret. But those experiences taught me resilience. When you're knocked down, you learn to get back up —stronger and with a better understanding of your own boundaries.”&nbsp;Has becoming a parent also influenced your perspective?EH: “Parenthood changes everything. It alters your perspective on problems, your sense of responsibility, and even your creative output. Raising children also emphasizes the importance of communication. I firmly believe that language is a tool not just for self-expression but for fostering understanding, whether with your family or the world.”&nbsp;<blockquote><h1>“My workshops focus on the power of words — how small adjustments in tone or phrasing can completely shift the impact of a message.”</h1></blockquote>

<blockquote><h1>"Don’t aim for perfection right away. Writing is a process, and mistakes are part of it."</h1></blockquote>&nbsp;Your husband, Marcel, is also a writer and columnists and you both write about your lives together: does that ever influence your relationship or the family dynamic?EH: “It’s definitely a juggling act! We both draw from our lives for inspiration, so there’s sometimes a playful negotiation over who gets to write about a shared experience. But it’s also rewarding. We understand each other’s creative process and the ups and downs that come with it. There’s a shared empathy for deadlines, writer’s block, and the vulnerability of putting your thoughts out into the world.”&nbsp;In recent years, your husband has become something of a media darling. How has that shaped your relationship?EH: “It’s been a unique journey. Early on in our relationship, I was the one with a more public presence, while Marcel was quietly honing his craft, working tirelessly in his small attic office. Success came later for him, and I couldn’t be prouder. Watching his talent finally get the recognition it deserves has been wonderful. But fame doesn’t define our dynamic — it’s our mutual respect for each other’s work and the ability to celebrate each other’s wins that matter most.”&nbsp;Finally, what advice would you give to aspiring writers?EV: “Don’t aim for perfection right away. Writing is a process, and mistakes are part of it. Learn to find joy in experimenting and revising. Also, stay curious — about people, about the world, and about yourself. That curiosity will fuel your creativity and keep you inspired.”&nbsp;<blockquote><h1>“Stay curious — about people, about the world, and about yourself. That curiosity will fuel your creativity and keep you inspired.”</h1></blockquote>

In yet another career-changing move, Eva Hoeke has started publishing her columns directly on her platform. This decision allows her to maintain creative independence while offering fresh content and insights outside of traditional media outlets. Explore her latest work <a href="https://petjeaf.com/evahoeke">here</a>.

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Dutch journalist Eva Hoeke is known for her sharp wit, candid commentary, and an uncanny ability to navigate the highs and lows of a career in the media spotlights. She first rose to fame as editor-in-chief of the lifestyle magazine Jackie. Her tenure there became a pivotal moment when she was forces to resign in 2011 following a controversy over a racially insensitive remark about pop icon Rihanna. Demonstrating accountability and resilience, Hoeke turned the experience into an opportunity to refocus her career.

 JOURNALIST EVA HOEKE ON CREATIVITY, CAREER INSIGHTS, AND RESILIENCE

<blockquote><h1>“Creativity is about being open to new perspectives: something the world needs more than ever."&nbsp;</h1></blockquote>&nbsp;Antoine Peters began his career on the runways of Amsterdam Fashion Week before transitioning into creating designs that blend fashion, art, and architecture. His thought-provoking work, which explores the relationship between clothing and the human form, has been featured in renowned museums like NOMA, OCAT Shanghai, Bonnefanten Museum and the Fresno Art Museum. But Peters also embraces commercial endeavors, collaborating with brands like Kidscase, Karlsson, United Nude, and Eastpak. He loves bold prints, nineties icons (his studio is covered in smiley faces and Alf memorabilia), and textiles that define his unique aesthetic.&nbsp;Where did your interest in fashion come from?&nbsp;AP: "For me, fashion is the ultimate form of non-verbal communication, which is essential for someone like me who isn’t naturally social. It allowed me to express myself in a deliberate, enjoyable way. Attending the art academy in Arnhem was transformative. It was there that my passion for fashion took root. I arrived at the initial audition not even knowing what a bobbin was, but I brought photos of my wardrobe and a three-meter-high smiley face I had painted on my wall. I was accepted, and that was the start of a very intense period of my life, with many sleepless nights, but it brought out the best in me. Through it all, my parents were always there for me, even if they didn’t fully understand the art world. Every Fashion Week, they'd be sitting front row, cheering me on. Their support has always meant the world to me."&nbsp;<h1>&nbsp;</h1><blockquote><h1>"Fashion is the ultimate form of non-verbal communication, which is essential for someone like me who isn’t naturally social.”</h1></blockquote>

Why did you eventually step away from catwalk shows?&nbsp;AP: "It turned into an unsustainable cycle. I managed everything on my own, including sales, and it was just too much. I was already critical of the industry’s overproduction: so much is made but never worn. Becoming a father shifted my perspective. I realized I didn’t want to contribute to overproduction anymore. Now, I engage with fashion through art and projects that encourage people to slow down and find joy. It feels right."&nbsp;&nbsp;<blockquote><h1>“Becoming a father shifted my perspective. I realized I didn’t want to contribute to overproduction anymore.”</h1></blockquote>

We're a platform that pushes for creativity, but what exactly is your definition of creativity?&nbsp;AP: "Creativity is about being open to new perspectives: something the world needs more than ever. It’s been the cornerstone of my work since the academy: evolving and staying receptive to ideas. True creativity involves connecting with others and evoking reactions, whether positive or not. For me, it’s about spreading optimism.I believe everyone has their own form of creativity; it just needs to be nurtured and sometimes requires stepping out of your comfort zone. My creative process can be draining, even making me grumpy at times. But I’ve learned to trust that, in the end, things will fall into place."&nbsp;

Does your creative process have a structure? What sparks your creativity?&nbsp;AP: "Music is a huge part of my process, especially instrumental electronic music that helps me get into a flow. The structure varies depending on the project; sometimes, it’s abstract, like when I’m designing a hotel room. I’ve gathered ideas and clippings over twenty years that I draw from. Inspiration is easy; the challenge is turning it into something tangible."&nbsp;&nbsp;What do you do when you get stuck?&nbsp;AP: "Talking to someone can help break the cycle of overthinking. It doesn’t need to be a deep conversation, just enough to shift my thoughts. Sometimes, stepping back and letting things fall into place on their own is necessary.There's a mental strain when you're constantly processing ideas and making connections. And sure, there are days when I spend all my time in the studio and feel like I haven’t accomplished anything. But that’s part of the process, and those days aren’t wasted. I come back the next day, ready to keep going. The satisfaction comes from the work itself. I’m still working with textiles, forms, and communication in a multidisciplinary way, similar to my catwalk shows where everything — from the logo to the music and invitations — had to come together seamlessly."&nbsp;&nbsp;Both you and your wife [ed. graphic designer Karen van de Kraats] work in the creative scene: how does that influence your daily life? How do you manage to switch off and not be 'on' all the time?&nbsp;AP: "I’m quite good at switching off. Home is home, and weekends are sacred. But creativity is ever-present. At home, even tasks like creating birth announcements or holiday cards become special projects. For us, these aren’t chores; they’re chances to make something meaningful.We look for meaning in everything we do, even in things as simple as New Year’s cards or family football shirts. For instance, I designed shirts with a circle print symbolizing family, unity, and strength, using circles drawn by each family member. It’s not about meeting expectations but about the joy of the process. The objects in our home all have stories and personalities — they aren’t just objects, but reminders of where they come from and who made them. Some rugs are four generations old, while other items come from modern designers. It all holds meaning."

<blockquote><h1>“My creative process can be draining, even making me grumpy at times. But I’ve learned to trust that, in the end, things will fall into place.”</h1></blockquote>&nbsp;Has becoming a parent changed your work or your work process?&nbsp;AP: “Yes, I now work within structured hours. Before, I could work any time, even late into the evening, most weekends. That’s changed, but it’s not a bad thing, it's just different. I prioritize being a father, and there’s nothing better than spending time with my sons, teaching them, or simply having fun. I’m better at separating work from family life.&nbsp;Balancing it all is a juggling act. During holidays, we often bring our oldest to the studio without a strict plan or idea and just create. We’ll put on music, toss some materials on the table, and he’ll start drawing. It’s a playful way for him to explore new things, and it’s great seeing him get creative without any pressure.Having kids has changed my work rhythm and my outlook on life. It’s reshaped how I view work. I see it as a catalyst. It’s accelerated things I already valued, like slowing down and putting things into perspective."&nbsp;&nbsp;<blockquote><h1>"Having kids has changed my work rhythm and my outlook on life. It’s reshaped how I view work. I see it as a catalyst. It’s accelerated things I already valued, like slowing down and putting things into perspective."</h1></blockquote>&nbsp;Your oldest son has been making a name for himself as an artist as well. How do you juggle supporting those artistic endeavors and his talent without adding pressure? How do you make sure you don't become a stage dad?AP: “He was always drawing, and at one point, we started to post his drawings on Instagram, which led to unexpected opportunities. He has sold some pieces and was already designing tapestries for a company like MOOOI at the age of nine. It's great, but we put zero pressure on him. There are times when he doesn’t paint or draw at all, and that’s fine.Again, it’s all a balancing act: we don’t want it to look like we’re exploiting him, and he has to want to do it himself. So, we only post things occasionally and always include context — like a drawing session, music, or a museum visit. Beyond that, we don’t push it."&nbsp;He's quite literally following in your footsteps because he doesn't just design, like you, he also teaches.&nbsp;AP: “Yes, he’s taught workshops at the art academy in Maastricht for three years in a row. I'll drive him there, and we spend the day there. We bring some candy, play some music, and go through the exercises together. We design various activities, mostly focused on intuitive drawing and disruption. The best part was that, in his first session, the students didn’t know who their instructor would be, and suddenly, they were being taught by a seven-year-old. It caught them off guard and got them to reconnect with their inner child, which is exactly what the workshop is about.”&nbsp;

You teach at a number of academies: what do you enjoy about teaching?&nbsp;AP: "Teaching sharpens my own analytical skills and is rewarding. I guide students, give feedback, and watch them grow, which energizes me and enriches my work. I emphasize starting with offline inspiration: using physical mood boards to activate different parts of the brain."&nbsp;&nbsp;And, finally, you are a very hands-on creative, as in literally making things by hand. Do you incorporate digital media or AI into your work?&nbsp;AP: "I use digital tools for technical drawings, but they’re just tools, not the goal. I adapt based on each project’s needs. My pattern-drawing foundation from the academy is still invaluable. While I’m interested in AI and digital tools, I see them as complements rather than focal points. For example, I use Instagram, but it’s something I schedule into my workflow."&nbsp;&nbsp;How do you see yourself now, starting as a fashion designer and branching out into other areas?&nbsp;AP: "There's not one individual label that fits. Everything I do connects back to the body and textiles, which I find fascinating. I’m not just designing clothes anymore; I’m making abstract works, bags, and even hotel rooms. Fashion is deeply personal: it shapes how we move and feel. That’s the magic of it."&nbsp;&nbsp;

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Antoine Peters has seamlessly transitioned from the high-stakes world of fashion design to becoming a multidisciplinary artist known for his bold creativity and innovative spirit. His journey is marked by resilience and a commitment to redefining artistic boundaries. We met in his treasure trove of a studio where Peters opened up about the experiences that shaped his career, how he evolved as an artist, father, and teacher, and why creativity is a way of life.&nbsp;

FROM HIGH-FASHION DESIGNER TO VISIONARY ARTIST: ANTOINE PETERS 

In an era where technology, especially AI, is rapidly accelerating both the speed and volume of creative outputs, it is more important than ever to share the journey behind creation. Showing the “how” behind the “what” allows creators to emphasize skill development, foster authenticity, and highlight the human aspects of creativity that distinguish genuine efforts from automated outputs. And yes, we know that sharing your creative journey, with all its trials and triumphs, can feel daunting, but the rewards far outweigh the risks. Here are key reasons why process transparency is crucial.&nbsp;<h1>Authenticity &amp; Trust</h1>As AI-generated content becomes more prevalent, audiences increasingly seek authenticity. Sharing the steps behind your final product reassures viewers that real human effort went into the work, especially in fields like art, writing, and journalism. This openness builds trust and adds value to your finished work.

<a href="https://www.tioc.nl/article/KOOS-BUSTER:-THE-POSTERBOY-OF-MODERN-CERAMICS">Koos Busters, the Minister of Ceramic Affairs. Click to read full interview.</a>&nbsp;<h1> Educational Value</h1>The creative process is where real learning happens. By sharing how you outline a novel, sketch an illustration, or compose music, you reveal the decisions and problem-solving that shape the final product. This transparency helps others appreciate the craft involved and can even provide them with guidance on their own creative paths.&nbsp;<h1>The Human Touch</h1>As AI content grows more common, highlighting your unique human process can set you apart. Showcasing work-in-progress snapshots or behind-the-scenes glimpses allows you to demonstrate the personal touch and originality that AI-generated content lacks. This approach reinforces the distinct value of human creativity in a technology-driven landscape.

<a href="https://www.tioc.nl/article/CREATIVITY-AT-WORK:-CARLIJN-KINGMA'S-CARTHOGRAPHY">Carlijn Kingma's carthography. Click to read full interview.</a>&nbsp;<h1>Building Connection</h1>The creative journey is a story that resonates with audiences. Sharing your creative process allows your audience to become part of your journey, enhancing their loyalty and investment in what you create.&nbsp;<h1>Combatting Misinformation</h1>Process transparency is also a tool against misinformation and deepfakes. Documenting your creative journey provides proof of authenticity, which can be vital in a time when deceptive content is prevalent. Techniques like blockchain could even further verify the originality and credibility of digital work, adding a layer of protection against content manipulation.

<a href="https://www.tioc.nl/article/THE-CREATIVE-SOUL-IN-THE-DIGITAL-AGE:-A-CONVERSATION-WITH-VINCENT-DE-BOER">Artist Vincent De Boer. Click to read full interview.</a>&nbsp;<h1>How to Share Your Creative Process</h1> <a href="https://www.tioc.nl/register">Sign up</a>&nbsp;with our TIOC platform to showcase your work through time-lapse videos, drafts, sketches, or behind-the-scenes footage. Documenting your thought process through blogs or vlogs is another great way to offer insights into your creative decisions, allowing others to see the intentionality behind your work.

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Creativity isn’t just about the final masterpiece — it’s about the journey that gets you there. When creators pull back the curtain on their process, they build real trust and connection, showing that creativity is less about effortless genius and more about trial, error, and discovery.&nbsp;

WHY SHARING YOUR CREATIVE JOURNEY MATTERS

<blockquote><h1>“What I love most about ceramics is that it's like turning drawings into real, tangible things.”</h1></blockquote>&nbsp;We're meeting in Amsterdam Noord, your home turf. What was it like growing up here?KB: “As a child I was always making something. I'd spend hours drawing and copying my older brother's creations, and later in high school, I designed my own diaries. I come from an artistic family: my mum was a kindergarten teacher, my dad a mime artist, and my grandmother a portrait silhouette artist. I spent a lot of time in theaters and museums—not the modern ones, more like the Rijksmuseum. I originally wanted to be a mime like my dad, but after several failed auditions, my brother, who was already studying at the Design Academy in Eindhoven, suggested I try art school. That's how I ended up auditioning for the Rietveld Academy.”&nbsp;While at Rietveld: did you start working with ceramics immediately, or was it a longer process?KB: “During my time at Rietveld, I had the opportunity to explore various art forms. I enjoyed each one of them, but I felt the need to specialize. I wanted to excel in one thing. I initially chose ceramics, thinking I might switch to fine arts or audiovisuals later. However, as I immersed myself in ceramics, I realized it was the perfect medium for my narratives. Today, I have such a deep understanding of ceramics that I can use it to effectively tell my stories.”

<blockquote><h1>“Working with ceramics brings me joy because it turns simple materials into meaningful art.”</h1></blockquote>&nbsp;So that's where Koos Buster, the ceramic artist, was born. Just to confirm, Koos Buster is your real name, right?KB: "Yes, I'm named after Koos, my father's best friend. They agreed at sixteen that if they had sons, they would name them after each other. My brother was born first and named Wout after another friend. Koos was disappointed, so my father promised that the next son would be named Koos. However, my father thought I looked more like a Buster when I was born, so everybody knows me as Buster.It wasn't until I graduated from Rietveld that I decided to use Koos Buster as my artist name. My work has a personal quality, so working under my first two names felt fitting.&nbsp;I enjoy having two names because I can use them as characters in my own mind. When I'm alone in the studio, I have no one to brainstorm with, but this way, I can spark ideas with myself, sometimes even out loud. Koos is a bit more conservative, and Buster is a bit more daring. It's kind of a joke, but it works well because I can express both sides and have internal discussions or conversations. It's like saying, 'Yeah, you're right. Okay, let's go!' and it feels really good."

<blockquote><h1>“Creativity has a lot to do with keeping a childlike sense of wonder and embracing naive playfulness…but it's also serious work.”</h1></blockquote>&nbsp;What is so appealing about ceramics?KB: "What I love most about ceramics is that it's like turning drawings into real, tangible things. Making something from nothing is incredibly rewarding. It's about paying attention to the beauty of objects and giving them importance. Working with ceramics brings me joy because it turns simple materials into meaningful art. I love creating items that people can use and appreciate in their homes.&nbsp;You graduated with a ceramic cleaning cart and have since turned every day, even mundane, objects like light switches and cigarette butts into sculptures. What fascinates you about these objects?KB: “It all started with making clay versions of things that usually go unnoticed and putting them on a pedestal to give them some love. It was like saying, 'Hey, I'm glad you're here.' That was the beginning, and it grew from there. There's also a bit of nostalgia involved, wanting to keep things that might disappear. Turning these objects into sculptures gives them a lasting place.It's also connected to my view on well-being and fairness. It bugs me how some people get more attention than others or are considered more important. I don't get that because everyone has a story to tell and one that is worth listening to. This inequality really bothers me, so I channel these feelings into objects. By focusing on overlooked items, I'm challenging what society considers worthy of attention and value.”

Can you tell us more about your creative process?KB: “I draw inspiration from many different places. Walking around the city and noticing interesting objects also sparks new ideas for me. But I get especially fired up when I go to concerts. Watching performers who are genuinely passionate about their craft fills me with ideas. It's not that I want to replicate what they do, but their energy and creativity motivate me to create.”&nbsp;So, no equivalent of writer's block, then?KB: “Not really. When I don't know what to do, I start making some of my best-selling items, like the clay sockets and fire alarms, my non-limited editions. And I also have a long list of things I still want to make, so I can always return to that.”&nbsp;Failure is always an option with any creative process, maybe even more so when working with delicate materials. How do you deal with frustrations like that?KB: I've spent so many hours working with clay that fewer things break now. I've learned how the clay behaves, but sometimes things still go wrong, usually because I'm a bit careless with the material. The most important thing is drying the clay properly. Too much wind or leaving the door open too long can cause cracks. It's crucial to wedge the clay properly, removing air and ensuring the molecules are mixed well.&nbsp;But even with practice, things can still go wrong or break. But I'm not really too bothered by that. And when something breaks in a museum or gallery, I feel bad for the person who broke it, but the piece itself is insured, so I don't feel angry or frustrated about it."

You're very productive and have show after show lined up. Do you ever feel pressure to constantly produce new work?KB: "Not really. I enjoy what I do and love experimenting. I aim to make each exhibition as good as or even better than the last. The key is to keep enjoying the process and not worry too much about external expectations.I'm not insecure about my work, but sometimes my friends' comments can make me doubt myself. They'll say things like, ‘You should try something different,’ or 'Aren't you tired of doing the same thing?' And the answer is no! I'm having a blast exploring new things. I've been doing more installations lately, creating scenes with various objects instead of individual pieces. It's like a tableau, and I'm really enjoying it.I've also been working with glass, and I'm making wooden tables for a museum in Arnhem, which is a new experience for me. So, I'm not doing the same thing at all. And even if I continue working with the same medium, repeating myself, it's unfair to dismiss my work like that. It's like telling a great cartoonist to make something other than a comic, or telling Dick Bruna that he should stop drawing lines and bunnies. It's weird and doesn't make any sense to me."&nbsp;<blockquote><h1>“It's not a hobby. It's my job. One that allows me to support my family, and I'm proud of that.”</h1></blockquote>

<blockquote><h1>“I didn't have a natural talent for sculpting or drawing precise sketches. However, I improved significantly through persistent practice and learning from my mistakes.”</h1></blockquote>&nbsp;You have two young kids, how has becoming a father affected your work?KB: "Since becoming a father, my work has definitely changed. My priorities have shifted. Before, I spent much more time in the studio, experimenting with different techniques all day. But now that time is more limited.I also decided to stop drinking because I wanted to use my time more efficiently. In the past, I could spend my free days relaxing and maybe drinking, but now I prefer to spend that time with my family and doing productive work. I now work four days a week, from 10 to 5, and during that time, I need to be focused and get my work done. This has taught me to work much more efficiently and be goal-oriented with my time.As for creativity, I don't believe in the myth that you can only be creative under certain conditions. Inspiration often comes at the most unexpected moments. It's about being open to inspiration and being able to translate it into your own medium, in my case, clay. So, although I spend less time in the studio, my time there has become much more valuable and productive. And at home, I am truly present, which is essential."

What is your view on creativity?KB: "Creativity has a lot to do with keeping a childlike sense of wonder and embracing naive playfulness. It's about letting things happen naturally. But it's also serious work.Creativity is very broad—you can be a creative architect or even a creative banker. It's about being true to yourself in your work, and that's something I take very seriously. Some artists focus on profound concepts, while others, like me, thrive on spontaneity and play. But it's still work. I enjoy what I do but can't stand it when people say, 'Oh, you just get to play all day in the studio. That must be fun for you, right?' It's not a hobby. It's my job. One that allows me to support my family, and I'm proud of that. Although sometimes, I yearn for the freedom to create without pressure. Ideally, I would just sculpt and not worry about where it's going."&nbsp;Do you believe you can learn to be creative, or is it something innate?KB: "You can definitely learn to become more creative. I enjoy comparing it to Ronaldo and Messi. I don't like either of them, but Ronaldo might be less naturally gifted than Messi. Messi has a lot of raw talent and works hard, too, but not as hard as Ronaldo. Ronaldo has always been wholly dedicated, constantly practicing and improving. He has talent, but his success comes more from his relentless effort.I see myself more like Ronaldo than Messi. I might have less natural talent than others, but I excel in other areas, like creative thinking. For instance, I didn't have a natural talent for sculpting or drawing precise sketches. However, I improved significantly through persistent practice and learning from my mistakes. I believe you can develop talent or creativity through persistence. And as for ceramics. Anyone can sculpt, but for some, it just takes longer than for others."

<blockquote><h1>“I don't believe in the myth that you can only be creative under certain conditions. Inspiration often comes at the most unexpected moments. It's about being open to inspiration and being able to translate it into your own medium, in my case, clay.”</h1></blockquote>

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Dutch artist Koos Buster has captured a growing audience with his unique clay sculptures of everyday objects. Since graduating from the Gerrit Rietveld Academy six years ago, the self-proclaimed Minister of Ceramic Affairs has showcased his work in numerous art galleries and museum exhibitions. Working from his studio in Amsterdam Noord, the neighborhood where he was born and raised, Buster has become a leading figure in the modern ceramics scene.

KOOS BUSTER: THE POSTERBOY OF MODERN CERAMICS

<blockquote><h1>“Creativity isn't something to be used and utilized.&nbsp;</h1><h1>I object to that idea and that sort of corporate thinking.”</h1></blockquote>

It's tempting to equate the artist with his work and work method. But, as with most things in life, it is more complex. While Vincent meditates, prefers an office in nature, and ends the long hours in his studio with a moment of stillness, he also likes to play loud, repetitive music (only instrumental, voices, and lyrics are too distracting) like dub ambient, or soundscapes. The kind of music that, when played loud enough, you can feel move through your body. In-person, Vincent is not the esoteric artist you might expect: he's high-energy, passionate, and outspoken. In short, the perfect person to talk about creativity, ethics, and the idea of 'using' creativity as society's problem-solving multitool (spoiler alert: Vincent opposes this wholeheartedly).&nbsp;

<blockquote><h1>“Just because we can, doesn't mean we should.”&nbsp;</h1></blockquote>&nbsp;What is your definition of creativity?&nbsp;VB: "For someone like Dick Swaab, creativity is a biological pathway that hasn't been formed yet [<a href="https://www.tioc.nl/article/DICK-SWAAB:-THE-CREATIVE-BRAIN">ed. read our interview with this acclaimed neuroscientist here</a>]. In Dutch, there's a beautiful word for this: 'Olifantenpaadjes.' But it's important to realize that creativity and science play very different roles in society. And it's not necessarily a good thing when those two worlds try to benefit too much from one another. They are very interesting if they oppose each other now and then, to challenge each other."&nbsp;What do you mean by that?VB: "For me, creativity is a way of life. That sounds grandiose, but I mean it in a very modest way. In my work, I've noticed that when things flow, you achieve a kind of creative momentum. And in that momentum, you're also digesting things that you've experienced in your life. Creativity has a therapeutic quality in that respect. Some people process things by talking about them to others; I process them through creativity."&nbsp;

<blockquote><h1>“Creativity has a therapeutic quality… some people process things by talking about them to others; I process them through creativity.”</h1></blockquote>

Creativity serves a genuine and distinguished purpose, then?&nbsp;VB: "It's important to remember that creativity isn't something that comes to you only to be used and utilized. I object to that idea and don't appreciate that sort of corporate thinking.&nbsp;I recently heard a scientist say, 'We can do everything we want, but do we also want everything we can do?' That struck a chord because, at the end of the day, that's really the question, and all these technological developments have completely overshadowed that question. Just because we can, doesn't mean we should.&nbsp;People are in awe of new technology, but while they're busy clapping their hands in awe, ethics are lagging behind. Take the smartphone. That's been around for some 14 years, and we're only just starting to realize that constantly being available isn't that great. It took as more than ten years to come to this realization! Technological advancements are happening at an incredible pace, but our ethical development is speeding up at a different pace. So, where exactly are we standing at the dawn of this new age? Are we going to halt progress because it's all moving too quickly? And if human ethics can't keep up with the speed of all the technical advancements, what is the actual value of that speed? These are essential questions that you need to address and think about."&nbsp; &nbsp;

<blockquote><h1>“We can't allow creativity to be reduced to a tool that others can use for their profits.”</h1></blockquote>&nbsp;What role does time play in your work and, indeed, your life?&nbsp;VB: "In my life, it's all about slowing down. Koen Haegens wrote a great book about this: ‘In Search of Scattered Time.’ In the book, he suggests that we live in a time where everyone feels they don't have enough time. Yet, comparatively and proportionally, we waste far more time on mindless activities than any previous generations.&nbsp;I work with traditional techniques, and when people see my work, they often remark on how much time I've invested in it. They can't believe I've spent months or years making this work of art. But the thing is, the word 'work' makes it seem heavy, because we came to believe that work is something you have to do, not want to do. In my artmaking process, my 'work' is my freedom and/or my meditation, although that sounds contradictory."&nbsp;<blockquote><h1>"The goodwill we creatives have towards each other shouldn't just be handed over to people who don't care about people."&nbsp;</h1></blockquote>&nbsp;For someone who is all about slowing down the pace, how do you look at the pace of technological advances?&nbsp;VB: "I'm pretty critical when it comes to technology. It is not about its possibilities but more about the people responsible for it. All this new technology eventually ends up in the hands of corporations that don't care about people, so you're essentially dealing with people looking to profit from it.&nbsp;A few years ago, Volkswagen developed a 300-mile-per-gallon car. You could drive to Berlin and back on half a gas tank—incredible. But what happened next? Shell bought the patent, and nobody (including our planet) has been able to enjoy this development. We talk about technological advancements, but that's not the real issue. It's about who controls them. I suggest listening to what Naom Chomsky has to say about this kind of thing.We must be careful that what is happening to technology doesn't happen to creativity. We can't allow it to be reduced to a tool that others can use for their profits. Creativity has become a buzzword, just like 'transparency.' Even in politics, people are now calling for 'creative' solutions, meaning more profit for fewer resources. Well, thanks, but no thanks. The goodwill we creatives have towards each other shouldn't just be handed over to people who don't care about people." &nbsp;

What effect will these technological changes or challenges have, depending on your point of view, on creativity?"Technological developments, including AI, will give us more of everything. More positive and more negative. The positive aspects will be for the privileged (and occasionally, the less privileged will get a little something to keep them happy—like a step counter or a little chat GPT or an image blender, oh, how special). In contrast, the negative aspects will be for those already struggling; in other words, a segregation tool. People will become increasingly impatient and worse at waiting and being bored, constantly reminded of the immense potential of technological progress—and therefore worse at creativity. Because 'boredom' is a key essential for creativity, it's the moment when your brain starts thinking outside the box, searching for interests and curiosity.'Creating' will unfortunately become synonymous with mixing or blending, which is valid to some extent but doesn't fully capture what it means. Surprises will become even more unwelcome. We will face even more uncertainties and become even worse at dealing with them. AI will cost us a lot of time: spending even more time than before on nonsense. Automatically generated messages are automatically answered, but we'll have to review everything and constantly double-check. We'll experience fewer exciting things in life, only blends of stuff we already know. Less getting lost, arriving at locations faster, which means you have more time to use apps while sitting in the waiting room. The speed difference between the analog and digital worlds will become excruciating."&nbsp;That's a bleak scenario…and, unfortunately, one that isn't that hard to imagine.“It all sounds like doom-mongering, but I strongly believe in a turning point. Precisely when everything moves in one direction, a counter-movement will arise. And moreover, humanity will only head towards what it can imagine. If we can only imagine a catastrophe, then that's what it will become. But everything depends on the attention you give it; if we focus on collaboration and softer values like love and compassion, they will have more room in our vision of the future.”

<blockquote><h1>“I strongly believe in a turning point. Precisely when everything moves in one direction, a counter-movement will arise.”</h1></blockquote>

Editorial Note:Want to know more about Vincent and his art work? Be sure to visit his <a href="https://vincentdeboer.cargo.site/home">website</a> to find a list of upcoming shows.&nbsp;Photography: Robert Oosterbroek, Tim Koster, Almacheal Fraay, and Robin Meyer.This interview was conducted at the Illustratie Biënnale Haarlem, the illustration and graphic art festival. We’re proud to call the Biennale one of our partners.&nbsp;<a href="www.illustratiebiennale.nl">www.illustratiebiennale.nl</a><img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/biennaleposter_3532e453e6.jpeg" alt="biennaleposter" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_biennaleposter_3532e453e6.jpeg 156w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_biennaleposter_3532e453e6.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_biennaleposter_3532e453e6.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_biennaleposter_3532e453e6.jpeg 1000w," sizes="100vw">

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Slowing down time is key to the work of graphic artist Vincent de Boer (1988). He works meticulously on his art with a background in calligraphy and a love for craftsmanship. Everything needs to align, from the studio's setup to the materials to the motion of his arm. With one fluid stroke of his brush, the artwork takes shape. In his work, de Boer examines the dynamic between the physical lines he creates and the surrounding negative space, delving into themes like choice and the fleeting nature of existence. A thought-provoking interview on creativity, technology, and societal values.&nbsp;

THE CREATIVE SOUL IN THE DIGITAL AGE: A CONVERSATION WITH VINCENT DE BOER

A bit of background info: before establishing Secrid, René and his wife Marianne ran a design firm for over 20 years, working with various clients across different markets. This experience would prove invaluable, allowing them to learn and apply their skills in diverse contexts. "We worked for different clients and markets, which was very educational and exciting," van Geer recalls. Eventually, they decided to channel their knowledge and creativity into their own venture. “We wanted to apply all we had learned to our own products and under our own brand,” he explains.The 2008 financial crisis was the final push they needed to fully commit to Secrid. The card protector they launched won the Red Dot Design Award, and the rest, as they say, is history. Today, Secrid's products are sold in over 8,500 stores worldwide, but it’s the owners' focus on creativity that really sets the brand apart. We sat down with René in the Secrid headquarters, housed in a beautifully renovated industrial warehouse in The Hague, to talk business.

<blockquote><h1>"Everyone is constantly engaged in creative activities.”</h1></blockquote>&nbsp;Creativity is quite a broad concept. I'd like to know your definition of creativity.RvG: “There are many degrees of creativity: people everywhere create their own world every single day. For some, that might mean baking a cake, while others change the entire recipe. The point is that everyone is constantly engaged in creative activities.”&nbsp;So, do you believe that people are inherently creative?RvG: “Everyone is creative. Again, the type of creative activity you’re involved in may vary. There are degrees of creativity depending on things like skills and other practical reasons. For instance, we used to renovate homes, and I would be very hands-on, painting walls and building furniture. All in all, it is a very creative endeavor but also a time-consuming one. The house we just moved into was already renovated. I didn’t want to spend more time renovating a house, so this time around, our focus is more on choosing the right rug, painting, or lamp. I don't paint or build furniture myself anymore because it simply takes too much time.”

<blockquote><h1>“Building a company is very similar to developing a product…You solve problems creatively, just like you would when designing a product.”</h1></blockquote>&nbsp;What does creativity look like in the work you do? Is there room for creativity when you’re the CEO?RvG: “Absolutely. Building a company is very similar to developing a product. It's never finished, and everything is constantly evolving. You develop processes, find the right people, and make numerous decisions, which is very creative. You solve problems creatively, just like you would when designing a product. When you start out as a designer, it can be hard to integrate a lot of different elements all at once. But over time, you learn to consider more factors in your designs, such as the user, the brand, the market, and the functionality. Good design considers all these aspects: you need to be holistic and ensure that what you create functions well in society and is commercially viable.&nbsp;Now that our company is bigger and we have a larger team, we can tackle projects more professionally. We have experts in areas where I lack knowledge, like ICT and legal, which allows me to focus on the creative aspects, which is where my strengths lie. We also try to make sure that the people who work for us can focus on what they’re good at.”

<blockquote><h1>“It's essential for the creative process to include various types of input, from those with engineering minds to those who are more abstract thinkers.”</h1></blockquote>&nbsp;Does working with such a diverse team impact your creative process?RvG: “It adds depth and perspective. Different viewpoints and experiences contribute to richer ideas and solutions. It's essential for the creative process to include various types of input, from those with engineering minds to those who are more abstract thinkers. For years, I’ve been working on a model of our production process, and I’ve narrowed it down to seven levels of abstraction: from the very abstract - the strategic thinking that our product team does - to the more practical art of selling the product, which is the domain of the marketing and sales team. This model is not unlike the chakra system, which also consists of seven steps, or chakras, that help us understand the interaction between body and mind. Each chakra represents a different aspect of our being. For example, the Root Chakra represents stability and security. People strong in this chakra are grounded and practical. The Solar Plexus Chakra is linked to personal power and confidence. Engineers and people who create structure tend to be strong in this chakra. And there’s the Third Eye Chakra, which is related to intuition and insight. This is important for strategic thinkers and visionaries. All these different chakras represent different types of creativity, and having a team with diverse strengths in these areas is crucial.”

<blockquote><h1>"We try to design our office spaces to meet varying needs, ensuring everyone has the right environment to be productive and creative."</h1></blockquote>

What does having a diverse workforce mean for the day-to-day business of running a brand?RvG: “Different roles require different environments. For example, the finance team needs a stable and quiet environment to ensure accuracy and concentration. They benefit from a fixed, calm workspace. Marketing and Sales need areas that foster interaction and collaboration because their work often involves brainstorming and communicating with others. The engineers and developers require structured spaces where they can focus on detailed work without distractions. In contrast, the creative team needs flexibility and inspiration; they thrive in dynamic environments where they can move around and be exposed to new ideas and stimuli.We try to design our office spaces to meet these varying needs, ensuring everyone has the right environment to be productive and creative. In the end, the environment you create must support both the practical and emotional needs of all those people. That’s why we focus on creating spaces that encourage interaction and collaboration. For instance, our espresso bar is a place where employees from all parts of the company come together, fostering informal discussions and idea-sharing.”&nbsp;How do you manage the balance between creativity and practical needs like deadlines and budgets?RvG: “It's about setting clear boundaries. Creativity doesn't have to be a long, drawn-out process. Even within time and budget constraints, you can make creative choices. The key is to prioritize and make the most impactful decisions within those limits.”

<blockquote><h1>“Creativity doesn't have to be a long, drawn-out process. Even within time and budget constraints, you can make creative choices.”</h1></blockquote>

Do you face any specific challenges in maintaining your company's creative edge?RvG: “Design is central to everything we do. We believe that good design can improve the world. This is why we partner with events like What Design Can Do and the Dutch Design Week to showcase how design can address various challenges. Our goal is to highlight the positive impact of thoughtful design on society. One challenge is ensuring that we stay innovative while also managing a growing business. It's a balancing act between exploring new ideas and maintaining the efficiency and quality of our existing products. We strive to foster a culture where both can thrive.”&nbsp;What advice would you give to other entrepreneurs looking to incorporate creativity into their business?RvG: “Surround yourself with diverse talents and create an environment that encourages experimentation and collaboration. Be open to different perspectives and don’t be afraid to take risks. Also, remember that creativity isn’t just about big, groundbreaking ideas; it’s also about making small, incremental improvements that add up over time.”&nbsp;Lastly, are there any personal rituals or habits that help you stay creative?RvG: “I make sure to integrate moments of relaxation and reflection into my daily routine. Whether it's taking a walk, meditating, or simply daydreaming, these activities help me stay open to new ideas. It's about finding a rhythm that works for you and allows your mind the freedom to wander and explore.”&nbsp;<blockquote><h1>“Creativity isn’t just about big, groundbreaking ideas; it’s also about making small, incremental improvements that add up over time.”</h1></blockquote>

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Creativity often takes center stage in the bustling world of product design and innovation. But at Secrid, the brand that has transformed the everyday wallet into a piece of innovative design, they went one step beyond. Here, creativity is not just a buzzword; it's a foundational principle. René van Geer, one of the founders and owners of Secrid, shares his thoughts on creativity, entrepreneurship, and the unique approach his company takes to fostering an innovative environment.