It's the question we tend to open with: what is your definition of creativity?CB: “It's a lot of different things. You can define creativity as a process that allows you to develop new ideas or challenge existing problems. But I also like to think about creativity as a team culture. And yes, you can also think about creativity as an end product. Creativity is also a skill set that gives you the confidence to be creative.”&nbsp;<blockquote><h1>“No matter what your skill level is when it comes to creativity, you can always advance those skills.&nbsp;</h1><h1>You can become more creative through practice.”</h1></blockquote>&nbsp;Can you learn to be creative?CB: “If you go back a couple of hundred years in history, there was a strong belief that creativity was something you inherited. Some famous researchers looked at European families where creativity existed over multiple generations, like the Bach family, which had some 28 musicians. So, from that perspective, it could seem like creativity is something you can inherit or pass on. It could also be that having the same surname as a famous ancestor allows you to follow in their footsteps simply because certain doors might open a little easier. But there's also the cultural dimension of early childhood, the environment you grew up in, the school you attended, the sports you played, and the organizations you're involved with and work for: they can all nurture your creativity. So it's probably a mix of everything. But the most important thing for everyone to remember is that no matter what your skill level is when it comes to creativity, you can always advance those skills. You can become more creative through practice.”

What kind of practice are we talking about?CB: "If you want to learn a new language, say Chinese or Spanish, more is needed than simply watching a Spanish movie with the subtitles on. You don't learn the language by seeing, hearing, or even understanding it; you have to practice the pronunciation and grammar over and over again. And then suddenly, you become better at it, become more confident about your language skills, and feel emboldened to speak Spanish whenever you can.The learning curve for creativity is the same. If you want to improve your creativity, you need to practice it. It's not enough to read a book on the subject or watch a video about a creative person. You have to start practicing it so you become better at it. And the exciting thing is that, as you become better, you boost your confidence by quite a lot. I've seen studies where If you practice your creativity for 5 to 10 hours, you can advance your skill set for thinking about ideas by 20 to 30 percent. But the creative confidence can boost by even more."&nbsp;What does practicing your creative skills mean? Take up painting?CB: "Funny you should mention painting. For me, that's an expression of an idea. And it's essential for creativity that you're good at expressing ideas.When you develop novel ideas, it can be difficult to persuade others about your idea simply because they can't match it with what they've seen before. If you're launching a new shampoo brand and change the bottle and the scent and opt for a funny color scheme, the procurement officers in the supermarkets will still recognize it as a shampoo bottle. And in their minds, they will be able to link it to a similar shampoo and feel confident they can sell this one as well. But what if you present that same supermarket with a novel idea that the procurement officer cannot relate to existing or historical experiences?&nbsp;Let's say your new shampoo brand comes in a paint can and has an accompanying paintbrush that you use to apply the shampoo. And instead of rinsing the product off in the shower, you let it sit and dry before you shake your head to get it all off. Now that shampoo isn't recognizable as something else: it looks weird and has strange instructions. Very few customers would even recognize it as a shampoo. So, selling that particular shampoo requires much more persuasion if you want people to understand the value and potential of this new idea. You must be very good at expressing the idea and how good it is."

So persuasion is one skill set; what's another?CB: "You need to be able to challenge standards and problems that most people don't recognize as problems yet. If, in a company setting, you only work on problems that everybody else is trying to solve, chances are you will probably come up with some very similar solutions as your competitors. Now, if you want a competitive advantage over everybody else in the industry, you will need a new starting point. Focus on things that most others don't focus on, and find different problems or perspectives. It requires that you're good at challenging the standards that most take for granted.Let's say you work in the swimming pool industry, you own a couple of swimming pools, or maybe run a holiday resort, and you need lifeguards. Now, you cannot just hire anybody because lifeguards need to be able to swim and maybe know CPR. Nobody would challenge the idea that lifeguards need to be able to swim. And that is precisely why it's such a good reason to at least challenge that idea, even though it goes against all logic.So what if you hire lifeguards who don't know how to swim and come up with a system where there is some net on the floor of a swimming pool and all these emergency buttons? So the minute someone is in trouble, you push a button, and up comes the net, lifting everybody out of the pool. In this scenario, you wouldn't need lifeguards who know how to swim but ones who know how to climb a net and how to administer CPR while hanging in the air.This net idea might be unique. It might be interesting. It might be good. It might not be. It might lead to a new type of swimming pool where people with a fear of water – the elderly, disabled, and those without a diploma can safely enjoy the water. But regardless, we now have a fascinating new perspective on safety in a swimming pool."&nbsp;The point of the exercise is to challenge the status quo, then?CB: "Yes, you have to look for the standards in your industry that nobody is challenging—practice identifying them and then challenging them. You can do that by making them extreme or removing them and watching what happens. And then, later, you can start trying out some of these ideas. But it starts with identifying the standards. And you will need to practice that repeatedly before it becomes a skill, a habit, or even second nature."&nbsp;<blockquote><h1>“You have to look for the standards in your industry that nobody is challenging—practice identifying them and then challenging them.”</h1></blockquote>

How long, generally, before it becomes second nature?CB: "Maybe weeks, months, depending on how creative you are already. You can practice for half an hour every week, 10 minutes every morning, or one hour every month. It depends on your ambition and how fast you want to improve your creativity.There's power in repetition: when you have practiced a lot over time, it becomes a mindset. It becomes a new pair of glasses that allows you to see these standards suddenly. And you instantly start to challenge them as well. It's a great skill to have."&nbsp;It does, depending on the company you're keeping or the company that you work for. When surrounded by people who resist change or creativity, it can be a curse.&nbsp;CB: "It goes back to your first question about the definition of creativity. If you only see creativity as a skill, a process, a technique, or a method, then you will end up having lots of great ideas, but you will start to feel like a weirdo because people need to understand and appreciate your ideas.It's also important to note that you can only expect creativity from somebody who knows how to be creative. It's like expecting people to play the violin when they've never learned to play it. You know it's going to sound horrible, right? It takes time to create a culture of creativity where people have a sense of accomplishment and confidence in their creative abilities. Developing these skills, which we discussed before you start expecting people to be creative, is a crucial step in creating a culture of creativity.In the second part of my book, I write about how you take a journey as a team, as an educational institution, or as a complete organization where you don't just take one of these creative perspectives but a holistic perspective. As a team or company, you must establish when and for what type of problems you need creativity."

<blockquote><h1>“Creativity is a chance process. You never know if something good will come up, but you have to invest time in this creative effort regardless.”</h1></blockquote>&nbsp;How do you decide what requires creativity and what doesn't?CB: "First, you need to develop a common language for creativity where everybody's on the same page about why we need creativity and what the value of creativity is in certain situations. Once you have the language, you go to step 2, which is developing these specific skills, like the skill to challenge what most people take for granted and the skill that allows you to persuade people and make sure they clearly understand the value of your ideas. Then, there's the skill of developing ideas beyond current logic. And the last skill is the ability to be curiously open-minded.Now, creativity is a chance process. You never know if something good will come up, but you have to invest time in this creative effort regardless. And that circles back to your question of when to be creative. If the problem is important and complex, it's worth investing in creativity. And here, it's essential to understand the difference between complicated and complex. Complicated problems generally only need data and analysis to be solved. For complex problems, we don't need data; we need ideas. And we don't need much analysis. Instead, we need visionary thinking. We cannot just analyze complex problems and then choose the correct solution. We have to come up with new solutions. Things we never thought about before, which is what makes it complex. You're entering unknown territory."&nbsp;You mentioned being curiously open-minded. That seems a difficult skill to master simply because it requires you to put your ego aside and refrain from judgment.CB: "When someone presents an idea, instead of thinking things like - 'This is not perfect. I could do it better. Let me tell him how to do it better next time. This idea is just really weird' – opt for a more constructive approach: 'This is different from how I think about the problem. There must be something they have seen that I haven't seen. Let me try to understand what they have seen. Maybe I could learn something here.' It's about having a curious mind and being open to learning. An idea might contradict everything you believe or know to be true, but maybe this could be interesting because it's something you haven't thought about before.Mind you, this is not easy. It might make you feel uncomfortable at first. But you'll have to learn to tolerate the discomfort. Sit with a pit in your stomach if you have to, but be sure to be curiously open-minded when presented with new ideas. This is a particularly good skill because it will help you actively look for potential in ideas where most people only tend to see problems.Ultimately, it's about integrating creativity into your everyday life, making it a habit. And when you reach that point where everybody in a team knows how and when to be creative, you can expect to see more ideas. We generally consider more ideas to be a good thing because it creates a better foundation for decision-making. When you have five bad ideas and one good one, there is little of a choice. You want to be spoilt for choice and consider the best option out of a dozen ideas."&nbsp;<blockquote><h1>“It's about integrating creativity into your everyday life, making it a habit.”</h1></blockquote>

We feel like we're forever preaching the Gospel of Creativity, but there are still plenty of people who don't see the added value of creating a culture of creativity. How do you get those non-believers on board?CB: "They should consider the value of creativity on both an organizational and societal level. The World Economic Forum considers creativity the second most important skill for the workforce. It used to be number five a few years ago, but now it's considered the second most important skill. So, from a future work perspective, let's say you're going to apply for a job soon; it's probably a good idea to be able to say that you can practice and implement creativity. It's rational to invest time in creativity, not just in training but also in doing it regularly. Cause it will become even more important in the future.But it's not just about work. You can use creativity in your private life as well. Creativity is about more than just solving big problems. It can also make life easier. It can help you create the life you want. And using creativity, you will become able to design your local society and the global society. So, from a societal point of view, creative people have the ability to engage in a democracy or any situation more actively because they start to get ideas. You see problems around you, and you suddenly start to get ideas for how to solve them more often. When you practice creativity together, you suddenly see some people as creative. Maybe even some people that you've never considered creative before, so being creative together is nice. It has been suggested that these creative moments are some of the peak experiences in life.'&nbsp;Earlier this year, we interviewed brain researcher Dick Swaab and talked about how neurodivergents tend to be good at creativity. What's your take on that?CB: "Say you want to engage in certain activities but don't want others to know you might have some anxiety or phobia; you are actively practicing your creativity in every situation where you feel like you want to seem 'normal.' Society was not designed to support this fear or the issues you face, so you must find your way around them. And as a consequence, you're constantly practicing your creativity because you have to find solutions that aren't standard.What is interesting is that the more creative teams in organizations tend to be better at making effective use of diversity, and that includes diverse thoughts, diverse personalities, diverse backgrounds, diverse perspectives, as well as people who may have a disorder in some way. It's very much related to this notion of having a curious mind. It's good to have diversity. But only if you have a curiosity of mind; otherwise, it becomes ineffective, and those who think outside of the box will soon find themselves in a situation where they are considered the oddballs with the weird ideas, and that is something you don't want."

<blockquote><h1>“You want to create a sandbox environment where everybody gets to know one another as creative human beings and get positive experiences.”</h1></blockquote>&nbsp;Is it bad to be considered the one with weird ideas?CB: “You don't want people to be afraid to be judged about their weird ideas or feel like they are not interesting, intelligent, or 'good' enough. You want to create a sandbox environment where everybody gets to know one another as creative human beings and get positive experiences. You can start by practicing ideas with nothing at stake and where you cannot lose face professionally. That way, you get some really good experience, and you build that creative confidence.”&nbsp;What are creativity killers?CB: “Focus requires concentration. Interruptions kill creativity. The phone can be a creativity killer. As can the computer, the mental to-do lists, or the fight with your spouse earlier in the day. To be creative, you need to rid yourself of all those distractions. Think about it as erasing your working memory from all the disturbing thoughts. And there are very personal ways to do that. Some take a bath, others do push-ups, some drink a cup of tea or walk in nature. Whatever the method, when you see someone is trying to focus and get into a creative mode, leave them be. Don't interrupt them. Refrain from striking up a conversation. Because if you do, you're killing creativity.”&nbsp;And potentially great ideas.CB: "Absolutely. Creativity is a powerful skill. It's very influential. If you're good at it, you can get ideas that can challenge the way people relate to or look at certain something. And those people may have different insights than you have or need help to grasp the full consequences, both positive and negative, of the idea you've persuaded them to like. Ethics are very important in this. We affect people's lives by trying to make them follow new ideas. And therefore, we have a certain responsibility for thinking morally and ethically about these ideas and their impact on the world."&nbsp;<blockquote><h1>"Creativity is a powerful skill. It's very influential."</h1></blockquote>

Speaking of impact, we can only talk about creativity and mention AI, right?CB: "We are entering into a period where AI can help us be more creative. In a recent study I did, we tested Chat GPT 4 using the Torrance test for creativity. The program ranked in the top one percent of human performance, and very few people can think up original ideas as well as Chat GPT 4 can. We have to find ways to use this advantage and use AI to help us in our creative efforts. Maybe AI can help us even solve problems too complex for us to solve, or maybe it can give perspectives we have yet to think about.If you are good at creativity, you can help AI think more creatively and become more creative. You get more creative resources from AI if you are creative yourself, meaning the more creative, the more you can get out of AI.You can call it a Sputnik moment, referring to the time when Russia got into space quicker than America. Similarly, we're seeing a Sputnik movement here where educational institutions and corporations may have been sleeping slightly. And now AI is so powerful creatively. And we are behind in how to use it effectively, and we may have to be more creative to make effective use of it.We may have to speed up the investment in education to develop creative cultures in educational and corporate settings so we can make effective use of this new powerful tune. Those who become the best at it may get innovative competitive advantages."&nbsp;<blockquote><h1>“If you are good at creativity, you can help AI think more creatively and become more creative.”</h1></blockquote>&nbsp;Any final thoughts?CB: “You asked in the beginning what creativity is, and I refused to give you one single definition. Still, please think about creativity this way: it's a rigorous approach. It's a rigorous process in a similar way to research. It has to be done right to be successful in being created. Once you develop it into a habit, the creative culture will feel far more playful, of course, but that's a very important thing to think about: when it starts to feel rigorous, it's a good thing because that means you're on track to becoming a professional creative."

Enjoyed this interview and interested in reading more about cultivating team creativity?&nbsp;Click on the link below to buy Christian Byrge's book.&nbsp;<div class="raw-html-embed"><a target="_blank" href="https://www.amazon.nl/Everyday-Innovator-powerful-cultivate-creativity/dp/9063696817/ref=sr_1_1?__mk_nl_NL=%25C3%2585M%25C3%2585%25C5%25BD%25C3%2595%25C3%2591&amp;crid=75V93FGHJT5K&amp;keywords=everyday+innovators&amp;qid=1699435419&amp;sprefix=everyday+innovato%252Caps%252C318&amp;sr=8-1&amp;_encoding=UTF8&amp;tag=tioc08-21&amp;linkCode=ur2&amp;linkId=c0f3de56ceba7d1638d08289a0949e3c&amp;camp=247&amp;creative=1211">Everday Innovator: BUY THE BOOK</a></div>

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Christian Byrge, an accomplished expert in creativity, serves as a full professor in Business Creativity at Vilnius University Business School. With a track record of training over 100,000 professionals globally and advising 300+ organizations on creativity development, he's a leading authority in the field. Byrge is also the author of Everyday Innovator, a practical guide that equips readers with skills to challenge norms, spark innovative ideas, and nurture open-minded cultures. Our discussion with him focused on cultivating creativity as a habit and transforming workplaces into innovation hubs.

CHRISTIAN BYRGE: CULTIVATING CREATIVITY

Van Aubel's efforts have not gone unnoticed: she designed the roof of the Netherlands Pavilion at the World Expo 2020 in Dubai, and her work is part of the permanent collection of New York's MoMA, London's Victoria and Albert Museum, and the Vitra Design Museum, to name but a few. She has also collaborated with global brands, including Cos, Timberland, and Swarovski, all in her effort to accelerate the global energy transition to solar.&nbsp;Where does the interest in solar energy come from?&nbsp;MA: "I have always wondered about the solar panels on rooftops, those unappealing blue squares that don't necessarily make houses look more beautiful. It got me thinking about how we could seamlessly integrate solar power into our daily lives and make those panels not only functional but also visually appealing.&nbsp;We live in an age in which we desperately need answers for our climate crisis. A few of the answers lie in front of us, but we don't make use of them. Conventional energy sources play a big role in global warming, whereas solar energy can be a clean solution. The sun is all around us, almost everywhere on our planet, so why not use what we have in abundance and turn it into something useful that can bring us a step closer towards a more sustainable future?&nbsp;&nbsp;<blockquote><h1>"We are surrounded by surfaces everywhere, so why not use them and design objects that add emotional value"</h1></blockquote>&nbsp;Most people think of panels on roofs or of gigantic solar farms, which are great, of course, to harvest energy, but it would be even better to integrate solar in a beautiful way into our daily lives. We are surrounded by surfaces everywhere, so why not use them and design objects that add emotional value."&nbsp;<div class="raw-html-embed"><div style="padding:53.54% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/644732271?h=434f221748&amp;title=0&amp;byline=0&amp;portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen=""></iframe></div><script src="https://player.vimeo.com/api/player.js"></script></div>

What are the specific challenges or difficulties of working with solar energy?MA: "Every project always starts as a challenge. We have to consider which materials to use and how to produce locally and as efficiently as possible without generating waste. Since we don't use plug-and-play technologies, it takes a lot of research and experimenting. We also have to explore what's available on the market. Plus convince manufacturers to join us on a journey to discover new techniques and ways to make it more affordable. There is a lot of research happening around how to make solar cells more efficient and applicable to different materials, so we always need to stay up to date with the latest findings and developments.”&nbsp;Can you take us through the design process of, for example, the stained glass panels that generate energy?MA: The ‘Current Window’ is a contemporary version of stained glass. It not only serves its traditional purpose of adding color and beauty to a space but also harnesses the power of the sun to generate electricity. The glass panels are constructed with dye-sensitized solar cells (DSSC), which utilize the characteristics of color to create an electric current, inspired by the process of photosynthesis in plants.&nbsp;

With integrated USB ports on the window ledge, you can conveniently charge your devices by plugging them in. The larger the surface area of the window, the more efficient it becomes as a power source. The design merges aesthetics with functionality, allowing you to enjoy the benefits of both natural light and renewable energy in a beautiful and practical way."&nbsp;&nbsp;<figure class="image"><img src="https://tioc-cdn.ams3.digitaloceanspaces.com/windowsill_4f7016eabd.jpeg" alt="windowsill.jpeg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_windowsill_4f7016eabd.jpeg 234w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_windowsill_4f7016eabd.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_windowsill_4f7016eabd.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_windowsill_4f7016eabd.jpeg 1000w," sizes="100vw"></figure>&nbsp;<blockquote><h1>“It's all about finding creative and practical solutions to make renewable energy a part of our everyday life.”</h1></blockquote>

Where else do opportunities lie when it comes to solar design?MA: “Opportunities lie everywhere, they are all around us. In fact, just one hour of sunlight can generate enough energy to power the entire planet for an entire year. There are numerous projects already underway, such as incorporating solar panels into streets, parking lots, bike lanes, roofing of sidewalks, walls next to highways etc. If we master the technology, we can use a lot more surfaces than we do now. Opportunities are endless.You can integrate solar cells into practically any surface in an interior and generate energy. This opens up a world of possibilities for incorporating this technology into our homes. Whether it's windows like ‘The Current Window’, walls, or even furniture, there are plenty of ways to seamlessly integrate solar power into our living spaces. It's all about finding creative and practical solutions to make renewable energy a part of our everyday life."A good starting point is to look at every surface as a potential surface that could generate energy. With that I mean walls, floors, windows and literally every surface that is exposed to light. Almost everything can be designed in a way so that it can harvest energy. On top of that I think it’s important to consider the potential of product design and solar-powered objects in creating more harmonious and integrated spaces. By incorporating well-designed and functional objects into interior design projects, they can create a more symbiotic relationship between fixed elements and objects in the space. A space can become more dynamic in that way. I also think that there will be more solar design in the future with which interior designers can work with and play in space which is quite exciting.”

<div class="raw-html-embed"><div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/84964915?h=a8f1b0a0cd&amp;title=0&amp;byline=0&amp;portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen=""></iframe></div><script src="https://player.vimeo.com/api/player.js"></script></div>&nbsp;Your products are beautiful, but also exclusive. What are you doing to make your designs more available to a wider audience?MA: "Making them more available to a wider audience is, of course, the goal. It has been a challenge to create more affordable products designed with solar power. Unlike other fields of product design, solar design still remains a niche with unique requirements. Each of our products and projects uses individualized and specialized technologies, lacking standardization, which inevitably leads to increased costs. It's also a question of supply and demand; by offering beautiful solar designs, we can create a bigger demand for solar products, allowing production on a larger scale, and hence making solar power more affordable for a wider audience.With our autonomous solar light, Sunne, we took a first step in this direction. It's still on the more exclusive side, but it's a starting point for a series of products that will be more affordable for a wider audience and will help raise awareness of how solar energy can be integrated beautifully into our daily lives. The more designers embrace solar technology, the cheaper it will become to produce. And that's not just great for our studio, but for the entire solar design field and customers. As costs decrease, solar-powered objects will become more affordable for everyone."&nbsp;<div class="raw-html-embed"><div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/523251883?h=97c00295ad&amp;title=0&amp;byline=0&amp;portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen=""></iframe></div><script src="https://player.vimeo.com/api/player.js"></script></div>

In addition to being an inventor and designer, you are also an author. How did the idea for the book come about?MA: "Solar energy is exciting and has lots of potential! There is so much more to it than just its technical side, which we're accustomed to. I wanted to write a book that shows this potential and showcases the latest and most exciting developments in the solar industry. We divided the book into three main parts: the past, the present, and the future. Understanding the origins and learning from the history of solar energy is important, but I didn't want it to be presented in a dry and boring way like many traditional history books. Instead, I wanted to make it fun and captivating by also including intriguing images and visuals that bring the history of solar design to life.&nbsp;The book delves into the present state of solar energy, exploring the latest advancements, innovations, and success stories. It offers a glimpse into the diverse applications of solar technology and its impact in the world today. Working as a solar designer, I met a lot of interesting people across the industry during the past few years whose ideas and experiences I wanted to include in the book. By featuring their perspectives, I aimed to provide readers with a glimpse into the minds of those driving innovation in the field of solar energy today.&nbsp;<img src="https://tioc-cdn.ams3.digitaloceanspaces.com/Solar_Cover_Render_OK_1024x731_e003b96943.jpeg" alt="Solar_Cover_Render_OK-1024x731.jpeg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_Solar_Cover_Render_OK_1024x731_e003b96943.jpeg 219w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_Solar_Cover_Render_OK_1024x731_e003b96943.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_Solar_Cover_Render_OK_1024x731_e003b96943.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_Solar_Cover_Render_OK_1024x731_e003b96943.jpeg 1000w," sizes="100vw">The book ends with a look into the future. By showcasing visionary ideas, groundbreaking research, emerging trends and dreams, I hope to inspire readers to imagine the transformative potential of solar energy in shaping our future. The book is not only written for designers and makers who want to play with solar technologies but for anyone interested in solar energy. I hope the book will help to change the perception of solar design, make it more attractive and exciting and serve as inspiration for everyday life."

<blockquote><h1>“By using our creativity and thinking outside the box, we can challenge the status quo and reshape the perception of solar panels into something functional and beautiful.”&nbsp;</h1></blockquote>&nbsp;What is your vision for the future or dream project?&nbsp;MA: "My dream is to move toward a world in which solar energy is the standard, and we live in a fossil fuel-free future. I love challenges and enjoy realizing things that are initially deemed impossible.One project that I am very passionate about and which remains a dream project is the Solar Biennale. It was initiated last year in Rotterdam in collaboration with fellow professionals in the field. Our main goal with the Solar Biennale is to accelerate the transition toward a fossil fuel-free future by showcasing and discussing solar futures and technologies, and by finding solutions together. One of our main goals is to create think tanks where we bring together people from all sorts of backgrounds, not just those in the industry but from different fields in society as well. We believe that by joining forces and collaborating, we can come up with interesting and impactful solutions. If we collaborate, we can think and implement ideas on a wider scale together.I truly believe that by changing our perspective, we can revolutionize and redefine nearly every technique. We have become accustomed to certain notions, such as the belief that solar panels are always unattractive, confined to roofs or large farms, and limited to square shapes in black or dark blue. However, if we take a step back and approach things with a fresh mindset, we can break free from these preconceptions. By using our creativity and thinking outside the box, we can challenge the status quo and reshape the perception of solar panels into something functional and beautiful. While our specialization lies in the world of solar design, I am sure that there is a lot of room for reinvention in other fields as well. If we, as designers and creatives, do so, we can contribute to making the world more sustainable, democratic, and beautiful at the same time."&nbsp;<div class="raw-html-embed"><div style="padding:125.58% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/630005912?h=94f8115b9c&amp;title=0&amp;byline=0&amp;portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen=""></iframe></div><script src="https://player.vimeo.com/api/player.js"></script></div>

What do you think is the biggest challenge in creating a fossil-free future?&nbsp;MA: "The biggest challenge in achieving a fossil-free future lies in changing our perception of renewable energy. We need to challenge the conventional status quo of relying on traditional energy sources and shift towards fossil-free solutions. While progress has been made, we haven't yet reached a point of complete independence.We have to redefine how we view solar power. Initially, the focus was on reducing costs and improving efficiency, and now solar energy has become the most affordable energy source in many countries. However, we still have the opportunity to make solar technology more accessible for everyone. We have many possibilities, and yet change needs to happen, and we are making progress. Not only with the climate crisis but also with social issues such as the war in Ukraine, we've seen the importance of exploring renewable energy sources to become independent and work towards a sustainable future. Exploring renewable energy sources for independence and creating a sustainable future has become inevitable.Another challenge we are facing is still on the technical side of solar energy. We need to find solutions to not only harvest the sun's energy in the most efficient way but also store the energy sustainably. There is still a long way to go, but we are on a good path."

What designs can we expect from you in the future?MA: "Designs on many different scales. We are working on a wide range of projects as we continue to embrace all sorts of challenges of solar energy. Our focus will be on creating solar-powered objects that integrate seamlessly into everyday life, making it more accessible for everyone.&nbsp;In addition to these smaller-scale projects, we are also committed to working on large-scale installations with which we want to raise awareness about the potential of solar energy. These installations will not only demonstrate the capabilities of solar power but hopefully also inspire others.&nbsp;We are also working on new editions of the Solar Biennale, which we are very excited about. We’ll have think tanks and workshops in different countries to discuss solar energy on an even wider scale."

<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/Schermafbeelding_2023_11_06_om_16_54_30_9d3c8c9c16.png" alt="Schermafbeelding 2023-11-06 om 16.54.30.png" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_Schermafbeelding_2023_11_06_om_16_54_30_9d3c8c9c16.png 121w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_Schermafbeelding_2023_11_06_om_16_54_30_9d3c8c9c16.png 388w," sizes="100vw">We're very proud to call NOOK one of our partners.&nbsp;NOOK is the official magazine of the Dutch and Belgian professional associations for interior architecture, BNI and AINB. The magazine offers in-depth content, inspiration, and opinions. NOOK is published quarterly in English.&nbsp;A version of the above interview was first published in NOOK, the Symbiosis issue (2023 / #2).&nbsp;<a href="https://bni.nl/nook/">Order a hard copy of the issue for €12.50, excluding shipping.</a>&nbsp;

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Dutch designer <a href="https://marjanvanaubel.com/">Marjan van Aubel</a> (1985) is shining some much-needed light – pun intended – on solar energy. With her studio, she creates designs that bring solar energy into daily life in the most aesthetically pleasing way possible. By combining elements from the fields of sustainability, design, and technology, Van Aubel aims to create lasting change and make solar power accessible to one and all.&nbsp;

MARJAN VAN AUBEL: SOLAR POWER TO THE PEOPLE

Let's get right to it: What is creativity?&nbsp;HT: "My definition of creativity is staying true to yourself, not paying too much attention to external influences, and not being too hard on yourself. You should never strive for perfection."&nbsp;&nbsp;How does this apply to your way of working?&nbsp;HT: "When I started out, I worked solely in black and white. Using pen and ink, I'd draw these lines over and over. But then, I switched to markers and started working with flat shapes instead of lines. I began making small drawings just for myself as a form of relaxation. There was no pressure, no specific purpose. I told myself these drawings couldn't fail; they were just for me. I had one rule: I had to continue drawing till the whole page was filled, and then I could decide whether to continue with it or not. This shift allowed me to become a more relaxed type of illustrator. Ultimately, I let go of the strict pursuit of naturalism, which felt right."

Changing your medium of choice is quite a big step.&nbsp;HT: "It definitely was a significant change. I had bought a small set of markers and a sketchbook and just began making simple drawings, taking it step by step. I took the markers everywhere: on holiday, to the beach. The thing is, I can't sit still or lie in the sun for too long, so I would draw instead. It gradually became a kind of pastime. I didn't think this would eventually become my new style of illustration. It was just a hobby. Something I did in my spare time. It eventually became my new working method but that was a natural evolution. There was no preconceived plan."&nbsp;&nbsp;By then, had you already graduated from the Academy of Arts, or was this pre-college?HT: "I had already graduated by then. I recently looked it up: I graduated in 2009, and my first marker drawings date from 2016. I was already working as an illustrator by then and had clients who hired me specifically for my black-and-white line drawings. But then I started experimenting by adding color to my work."

Were you nervous about changing your style and possibly losing clients or work over it?&nbsp;HT: "Not really. And that's partly because I took up a part-time job at around the same time. In the early years of my career, financial worries were a real thing. But by getting this job I created more room for creativity. I no longer felt the constant pressure to illustrate solely for money, which inspired me to really start doing my own thing."&nbsp;&nbsp;They say you don't need money to be creative, but not having any money can be a significant block for creativity. Financial worries can undoubtedly affect your creativity, right?&nbsp;HT: "Absolutely, because at the end of the day, you still need to pay your rent and cover your basic needs."&nbsp;&nbsp;<blockquote><h1>Collaboration is about giving and taking, compromising, and being open to new ideas during the creative process.</h1></blockquote>&nbsp;When did you start painting murals?&nbsp;HT: "I spent a lot of time in Surinam, my father's country of birth. And over there I did quite a few murals, but I had never done one in The Netherlands. In Surinam, there's a culture of murals and advertising that I found fascinating. I even set up a collective with a friend there: we allowed young artists to paint murals on vacant buildings and old structures.&nbsp;I painted my first 'Dutch' mural during the early days of the COVID pandemic. I was asked to do a mural but by then my style had changed significantly, so I had to find a way to translate my new style to match the mural's requirements. In the end, it all began with a drawing that I blew up onto the wall."

From murals to textiles: Again, it seems like a giant leap, but you seem to make the switch effortlessly.&nbsp;HT: "I've always had a fascination for textiles. In fact, I used textiles in my graduation project in 2009 but didn't explore it much after that. When we were stuck at home due to COVID, I was painting in my studio, and that's when the idea hit me. I thought: ‘Why not transform my paintings into applied textile pieces?’ I started cutting the shapes from the fabric and making collages to create textile wall hangings. That's how it all began."&nbsp;&nbsp;<blockquote><h1>“I've learned that collaborating with other people gives you fresh perspectives.”</h1></blockquote>&nbsp;That's creativity at work, right there. Making do with what you've got. Finding inspiration in limitations and restrictions.&nbsp;HT: "Exactly. Restrictions can be inspiring, although that's something I realized later in my working life. In college, collaborating was challenging for me because I'd feel like, 'I have an idea, but I might not connect with the other person's idea.' Since then, I've learned that collaborating with other people gives you fresh perspectives. You may not initially resonate with their ideas, but when you work together, you find ways to make it cohesive and exciting for everyone involved."

How do you go about collaborating?&nbsp;HT: "For me, it's about working with people whose work I already adore. That means I can't always collaborate with everyone: the project needs to feel right. For example, I collaborated with Brian Elstak on a book. We both admired each other's style. However, we still needed to ensure the book had a unified look. So, I suggested sticking to a specific color palette to create cohesiveness; fortunately, Brian agreed. Collaboration is about giving and taking, compromising, and being open to new ideas during the creative process. Collaborations allow me to evolve as an illustrator and be open to new possibilities."&nbsp;&nbsp;Speaking of collaborations, what does a collab look like when the other party is a big company, like the work you did for IKEA? Usually, the one who pays has the final say.&nbsp;HT : "Well, in the case of the Ikea collab: the creative brief allowed for a lot of freedom. Ikea wanted to upcycle furniture, and I wanted to work with textiles, so it was a project where everyone could contribute in their own way with ideas and interpretations. Collaborating with companies can sometimes mean your work reaches a broader audience, and yes, it may become more commercialized. However, I've seen that people who are genuinely passionate about their art and craft will find their way. You need to have endurance and focus to sustain yourself in this world. It's not about just getting a continuous stream of commissions. It's about being genuinely passionate about what you do and staying committed to it."

You've developed a very distinctive and recognizable style. It must be challenging seeing others copying or trying to imitate it. How do you deal with that?&nbsp;HT: "I believe that when you stay true to yourself, you'll always be unique. I have my own techniques, color palettes, and themes that are specific to me. It's nearly impossible for someone to copy all three aspects. Also, if someone chooses to copy my style, that's on them. I might not like it, but ultimately, it's their choice. Also, I think my interests and my world are quite specific, making it challenging, if not impossible, to replicate."&nbsp;&nbsp;<blockquote><h1>Find your passion, stay true to yourself, and don't be afraid to explore and evolve your art.</h1></blockquote>&nbsp;Any words of wisdom for young artists who are just starting out?&nbsp;HT: "Find your passion, stay true to yourself, and don't be afraid to explore and evolve your art. Be patient, as it takes time and perseverance to establish yourself in the art world. Also, drawing inspiration from everyday life and staying connected with the society around you is extremely valuable. Spending time in places like Suriname allows me to step away from the fast-paced art world and be more relaxed and contemplative. Drawing inspiration from ordinary things, like the streets or daily life, keeps me grounded and connected to the broader society rather than confined in the art bubble. It's important to have that balance."

Disclaimer: 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. For more articles and design challenges check back soon.&nbsp;<a href="www.illustratiebiennale.nl">www.illustratiebiennale.nl</a>

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Hedy Tjin is an Amsterdam-based illustrator and designer. Since graduating from the Academy of Arts in Utrecht, Tjin has established herself as an artist with a trademark palette, an alluring aesthetic, and a strong social conscience. The world is Tjin's canvas, literally, for she designs anything from murals to books and from furniture to textiles.

HEDY TJIN: THE WORLD AS A CANVAS

Are you getting tired of everyone constantly bringing up your age?TJK: “Well, it’s a bit like: ‘Enough, already, we get it.’”&nbsp;I won’t dwell too much on your age, but aging comes with physical challenges. I can imagine that it's pretty depressing for a creative person to be limited in how you can express yourself.TJK: “Yes, that definitely isn’t fun. I still work every day, but around 3 o'clock, I get tired and sleepy, which I find incredibly annoying. In the evenings, I also get tired, which is such a great contrast to how it was: I used to be able to work all night; I would just keep at it. My hand doesn't do exactly what I want it to do anymore. That's very frustrating, and because of it, everything takes so much longer. What used to take me an hour to draw now takes three hours.”&nbsp;How do you deal with that?TJK: “It is what it is. There’s not much you can do about it. You can fight it and hate it, but it won't help, so why waste energy?”&nbsp;You could also decide to stop altogether.&nbsp;TJK: “No, that's not really an option. I enjoy it too much. Plus, it gives me energy.”

Have you always had that need to create?TJK: “I can’t remember ever not drawing, but I wouldn’t go as for as to call it a need or inner drive. That’s too big a term for it. I simply enjoyed doing it. It's fun to keep yourself busy. Plus, what else could I do? I could read or take long walks, but that doesn’t really do it for me.”&nbsp;You could go to the movies; as a child, that was your happy place, right?TJK: “I loved going to the movies. I intensely enjoyed immersing myself in a different world, daydreaming away. I particularly loved the acting part. I would study how actors portrayed different emotions. I’d observe how Joan Crawford would act when angry or sad.”&nbsp;Speaking of acting: is it true that you act out what you draw in front of a mirror?TJK: “Yes, that's true. I look in the mirror to see what happens with your face and body when you act out certain scenes or feelings and then make sketches, eventually choosing the best one.”

Never had the ambition to do something in the movie industry?TJK: “I would have liked to, but I'm not cut out for it. Making a movie involves a lot of people. I love being an illustrator and comic artist – in that role, you're essentially the storyboarder, the editor: you’re everyone and everything.I used to think it would be fun to create an animated movie, but that's beyond my capabilities because everyone only works on a very small part of a film. And I don’t like that.”&nbsp;You say you don't like to work on just one thing, but you also worked at the Marten Toonder animation and comic studio, where you were a cog in a much bigger machine.TJK: “Yes, but I didn't last there very long. I put my heart and soul into it and really enjoyed working there because it was the first time I worked on something that was actually being used and seen. I had previously made some book covers, but this was something entirely different.”

What does your process look like?&nbsp;TJK: “I need a story to get started. If there's no story, there's no work to be made. When on holiday with my wife, I would take my art supplies to create something from scratch, but that never really worked. I need some sort of briefing, deadline, or audience; otherwise, it feels pointless and aimless. I guess that’s the difference with real artists who feel this need to create.”&nbsp;It’s funny that you use the label ‘real’ artists. Like there is some sort of hierarchy in creativity. You started out by working in an industry that was long considered anything but artistic; what was that like?TJK: “Comics were frowned upon: they were considered stupid and aimed at dumb people. But I didn’t care what people said. I enjoyed making comics and loved to draw because it made me feel completely free.”&nbsp;&nbsp;How did having a family impact that freedom? Working as much as you did well into the night was no longer an option.TJK: “Not exactly. The rule was: don’t disturb Dad.”&nbsp;So your family allowed you to do what you love, which starkly contrasts your childhood. Your family then didn't care much for your artistic inclinations, right?TJK: “True, nobody thought much about my drawings. I was a shy child and didn’t have a lot of friends. I would just draw and draw and lose myself in the world I created. When I came to The Netherlands, I attended the Rietveld Academy for a while, but I guess it wasn't for me. My father said I should become an architect if I wanted to continue to draw. But that wasn't for me either. Then he suggested that I become an advertising artist or teacher. But I was way too shy to stand in front of a classroom. Ultimately, I had to find some sort of work because my study visa was expiring, and I didn’t want to return to Indonesia. I remember seeing the Tom Poes comic in the newspapers in Indonesia and figured that maybe I could work on something like that. I ended up working at the Marten Toonder Studio: they vouched for me, and that’s how I was allowed to stay in The Netherlands.”

And that’s how you ended up drawing comics. Much has been made about the cinematic aspect of your comics: from the lighting to the camera-like angles. All those cinema visits paid off, then?TJK: “They certainly did! When I was around 14 or 15, I watched all these Hollywood movies. I didn’t care much for British or French cinema: it all looked too ugly to me. In contrast, all those Hollywood actors looked beautiful. Even when they fell into the water, they’d come out looking perfectly styled. That intrigued me, and I used what I had seen in the cinema to create dramatic effects in my work.”&nbsp;Isn’t that precisely how creativity works? Combining something you have once seen, read, or experienced and applying it to a completely different medium or experience to create something new?&nbsp;TJK: “True. Everything has been done before, so when I'm working on something, I might recall something I stored in the back of my mind and use it. And then, while I'm working on it, new ideas come along, and the final result looks completely different from the original thought, idea, or concept.”&nbsp;So, what is your definition of creativity?TJK: “Creativity is about creating something: making something out of nothing. It applies to painters, writers – they all do it. There's nothing; when they’re finished, there's something—it’s about creating what wasn't there before."

And can creativity be taught, or is it innate?TJK: “I think it's a bit of both, somewhat innate. I'm not entirely sure.”&nbsp;Has your process changed?TJK: “I used to create stories based on everyday life experiences, but now I find that boring. I prefer drawing things that are not possible, like fairytales and myths.”&nbsp;Is that because those themes give you more creative freedom since there's less preconceived imagery?TJK: “Absolutely, I can be more imaginative and free in my creations.”&nbsp;Is there a difference between creating art for adults and children?TJK: “Yes, for adults' stories, I try to convey more complex concepts through visual metaphors and symbolism, while for children's stories, I focus on creating literal and straightforward images.”

What is your favorite medium to work with?TJK: “I used to work a lot with pen and watercolors, but recently, I've been experimenting with acrylics.”&nbsp;I love hearing that you still experiment. You could have stuck with what has been successful in the past but, instead, still explore new and challenging paths to discover something exciting.TJK: “Why would you keep repeating yourself? You never stop learning, and you can continue to find joy in the creative process by challenging yourself.”&nbsp;And how about the dread and insecurity most creatives experience when working on something new: do you still suffer from that?TJK: “That slight panicky feeling never really goes away.”&nbsp;Do you ever get creatively stuck, and if so, how do you handle it?TJK: “When I get stuck, I sometimes put the project aside for a few days. Taking a break often helps me see things with fresh eyes, and then I tend to find a solution.&nbsp;Any advice for young creatives?TJK: “I’m not one to give advice, but I guess something along the line of: do the hard stuff first because, after that, you can just have fun. Know that perfection can be found in happy accidents: things that turn out differently than expected but are still perfect. Also: take your time. Mess around a bit. And the most important thing, I guess, is: do what you love.”

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Thé Tjong-Khing (1933) is something of a legend, although he is far too modest to agree with that label. He is one of the Netherlands' most famous and beloved children's book illustrators: literally, everyone has at one time seen his work. Throughout his almost 70-year professional career, Khing has created dozens of comics and thousands of illustrations for magazines, book covers, and children's books for which, in turn, he has received dozens of awards. But he has not let fame get to his head, and at the age of 90, he still draws every single day. The man’s a legend indeed.&nbsp;

THE TJONG-KHING: AN ILLUSTRATED LIFE

Let's dive right in: do you think creativity is fixed and innate, or is it something that can be trained and explored?&nbsp;KW: "There are different theories that you could apply to this. There's one theory that is related to this idea of systems. Humans are a kind of system, and all of us are composed of all these other systems like the brain and the digestive system. But, at the same time, we're also part of more extensive systems, like societal and economic systems. Gordon Pask coined the conversation theory. The idea is that it takes two people, two actors, to interact with language and actions. But the key to that system is feedback. And so, the theory is that creativity always relies on some feedback mechanism, which could consist of thoughts we form in our head or feedback between two different entities.&nbsp;There's another theory by philosopher Daniel Dennett, who said that it’s not just people who create things, nature does as well. He looks at this in terms of design, so humans are intelligent designers, but according to Dennett, nature also undertakes this creative process through evolution. And that kind of creativity equals competence without comprehension.&nbsp;So where we, as humans, might be able to reflect on and comprehend the things we make, nature is doing the same thing through trial and error. Without, as far as we know, any intelligence or comprehension. In that definition, nature is also creative, and some people believe that all our creativity is just mimicking what happens in nature."

Does that mean that animals are also creative?&nbsp;KW: "In that definition, yes, because they're adapting to their surroundings and to things that happen to them, either during the lifetime of one animal or over a more extended evolutionary period. Another philosopher, Emanuele Coccia, thinks of this in terms of plants. Each plant is not only adapted to its specific environment but can also change that environment in some ways by creating flowers, releasing pollen into the air, etcetera. And the same applies to humans. We're not just part of our environment; we can also change this environment. We can't, however, be separated from this environment. Think of fish. You can't take fish out of the water; it's their environment. The same goes for humans and our need for air. When we breathe in, we're taking in some part of our environment, of the world around us. When we breathe out, we give back some part of ourselves to the world. So in that sense, we're inseparable from this world.&nbsp;Coccia argues that taken from his perspective, a fish is not so different from the environment it lives in. A fish is merely a different version of the water, a more solid version. It becomes interesting when you think about humans and creativity and this idea that intelligence is not just something inside our heads but distributed in our environment. For example, when I have to remember to take out the trash, I place the trash by the door. That way, I don't have to think about it anymore. The information is now in the environment. It's not in my head anymore. So that raises the question: how can we be creative by responding to and changing our environment?&nbsp;And to return to this idea of systems: look at a company like Google. When companies like that grow to a specific size, they cannot be so creative anymore. And so when they need new ideas, they have to hire people with ideas or buy smaller companies doing interesting creative things. They're bringing in creativity from the outside and introducing it into their own system."

You're a creative person using different means of expression, from theoretical writing to poetry. How does that work?&nbsp;KW: "I don't always intend to write poetry. Sometimes it just comes naturally. The same happens with ideas for an article. The best time for me to write is in the morning when I'm fresh. A Ph.D. student of mine said the best time for him is in the evening: after a couple of glasses of wine, he can be more creative. We're taught to work according to the clock, and in reality, we all have different stages of the day when we're more productive or creative. And those stages can differ per person.”&nbsp;

Left: Leonid Pasternak, The Passion of Creation. Right: Modern version of Pasternak's work made with AI.The technological world of AI and the world of poetry seem so far removed, but in your work, they aren't, are they?&nbsp;KW: "So I'm working on this current project where we use AI to help us structure a narrative. And we tried to train the AI system using poetry. So I copied and pasted these poems into a text file. A lot of poems. And I did this for a whole day, not even reading the poems. And I was looking at these poems all day, and by the end of that day, I felt like I was seeing the world as a kind of poem. Everything I saw, every object and every action: somehow, it came to me as a kind of poem, which was interesting. As if I became programmed by poetry. It’s not unlike what writers say: if you want to be a writer, you have to read a lot.”

It’s about input then. Which, brings us to AI. How do you think AI will effect creativity?&nbsp;KW: "I currently only use it to generate some unexpected connections, some randomness or some noise. Let’s go back to Alan Turing's original paper on Computing Machinery and Intelligence. In it, he talks about a classroom. Students can learn what a teacher wants them to, but true intelligence, and maybe we can say the same for creativity, is when we introduce something new, something different, something random. He says that for a machine to create something new, you must introduce some randomness or noise into the system.&nbsp;Some say that AI can never create anything new because it only knows what has been put into its system. But potentially we could train AI systems, which is what I’m currently looking into. Can it create something new and interesting that we wouldn't come up with ourselves? I urge my students not to just put in a prompt and then use the images generated, but instead use those images as a starting point. ChatGPT, for instance, is not very good at writing, so you can use it, but only as a first draft. You will need to do something else and use your knowledge and intuition to shape that text into something else. So I think it should be a collaboration."

Is human creativity still relevant in the future?&nbsp;KW: “If you define creativity or intelligence in a very narrow way, it's just a mental process that we can model somehow using an AI system. But to me, creativity is not just inside the head. It's not only a mental thing, it's also embodied. And that's where the difference is. So AI is good at doing digital things, things that exist on the computer and the Internet. But we live outside of the digital world as well.&nbsp;When I'm drawing something happens to me that's not just mental. It's the actions that I'm undertaking with my body. So we will always have this difference from machines in that sense. Now if machines were able to execute code and have a kind of memory, then it can start to have some actions in the world. And if it can execute code, if it can iterate and improve on its code, if it can start to be autonomous somehow, it can begin to impact things happening in the world.”&nbsp;<blockquote><h1>“To me, creativity is not just inside the head. It's not only a mental thing, it's also embodied.”&nbsp;</h1></blockquote>

Some people say the main difference between AI and humans is that humans have the urge to create an AI. But now you’re telling us that AI could have some autonomy.&nbsp;KW: "Yeah, well, the question is: can it have its urges? Can it have desires? I don’t see that happening. Then again, I spoke to a robotics engineer some years ago who created this super simple and tiny insect robot. It only has like two or three components. It has a light detector like a photocell and a capacitor. To store up the charge that it collects from the light. And that's it. And then the little motor moves it, so all it does is where it detects more light, it moves towards the light. So so this. Super simple system. It already has some autonomy because it's seeking out the energy, the morning, so it can perpetuate itself to survive. So maybe there's something there?&nbsp;There's one theory of creativity by this guy named Graham Wallas from the 1930s. And he said that you must first collect all of this stuff. All these visual references and things. But then. What you do is go to sleep. And you know if you're working on a problem late at night or something you need to sleep on it. I do this with programming. I'll be trying to figure out what the hell is wrong with my program. And then I wake up in the morning and realize I was missing a semicolon somewhere.&nbsp;Now I asked ChatGPT about this. I said sleep is essential for creativity, ChatGPT agreed. I asked for some research to support this claim. ChatGPT said there was a 2013 paper about this and another paper, but it didn't give the exact references. Then I asked if it could become more creative. Could you sleep? Do you sleep? And it said, of course: ‘I don't sleep. I'm an AI system. I'm just running all the time.’ And I said, well if you could sleep, you could be more creative. But I don’t think he got it, haha."

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With AI being a hot topic, we turned to Kevin Walker to discuss AI and its implications for creatives. Walker, an Associate Professor of Immersive Media at Coventry University, leads a research theme, focused on AI and Algorithmic Cultures at the Centre for Postdigital Cultures. His research encompasses the intersection of natural and computational systems (more about that later). And with a background in anthropology, art, and technology, he explores his findings in theory and practice through software programming, exhibitions, events, and performances, as well as academic and creative writing.

KEVIN WALKER: CREATIVITY IN TIMES OF AI

Nancy’s&nbsp;work hasn’t gone unnoticed. <a href="https://amplifyher.me/">AmplifyHER</a>, the Women's Visibility Conference she started on the heels of the global pandemic, has sold out 2 years in a row. And together with Women Inc, BrandedU started a social media and PR campaign. Titled 'My Name is Peter',&nbsp;the campaign asked women to change their names on LinkedIn to Peter, in order to increase their chances of becoming a CEO. The awareness campaign, which made smart use of influential women to get major attention with hardly any media budget, won the Grand Prix at the Dutch Creativity Awards. High time we sat with this powerhouse.&nbsp;&nbsp;

What is your definition of creativity?&nbsp;NP: “Creativity for me is freedom. It's the freedom to explore and discover. I love history because it gives us context and shows us where we're coming from. But overall, I'm a very future-focused person, and I love the creative process of designing something new for the future. It could be a new sound in music or a new way of doing business, which I'm doing now. I built this business in a creative way. People told me that you could only be an entrepreneur when you have people working for you and follow certain rules that define entrepreneurship. But I said no, for entrepreneurship has to work for me. I was sick at the time and had to find a way to be an entrepreneur despite being ill.&nbsp;&nbsp;That meant not going to the office. I couldn't have the burden of constantly having to worry about paying rent or paying a fixed team of employees. I had to do it in a creative way and create as much freedom for myself as possible. And 10 years later, I'm still running this business on my terms. This creative approach also trickles down to everyday work: we just look at the problem areas and start fixing them. And that's basically what creatives do as well. If you work at an advertising agency, people come to you with a problem, and you come up with&nbsp;creative solutions. For me, creativity is about making yourself so free that the answers come to you."&nbsp;&nbsp;<blockquote><h1>“Artists never conform, and that's why they're my inspiration. They refuse to conform.”</h1></blockquote>

How do you do that?&nbsp;&nbsp;NP: "I love the quote: 'Be curious, not judgmental.' It's about thinking of what could be possible. How would things be if everything was completely different? It's the curiosity that we all have as kids. A lot of people have it knocked out of them. My parents had me when they were young, practically teenagers, and they raised me to ask questions and go against the grain. I was always asking 'why.'"&nbsp;&nbsp;You work with C-suite-level women, but your background is in music.&nbsp;NP: "I started out as a marketer in music. Marketing is about finding a target audience and selling a product. Branding is more about the 'why.' Why did we create this product? Looking back, we did a lot of branding in music back then; we just didn't call it that. We referred to it as marketing. But when we had a new artist we just signed, it was our job to make a connection with the audience. An emotional connection, because that's what music is. I can't sell Alicia Keys's record by running a poster campaign. You need to hear the music; you need the emotional connection. So it's nice to know the background info: why did someone write a song? It's about finding different ways of reaching our audience."&nbsp;&nbsp;You've also worked with international artists, and based on those experiences, you developed this Rock &amp; Roll Branding.&nbsp;NP: "For me, Rock &amp; Roll Branding is about showing yourself to the world and thinking about how you do it. The 'W' questions: Who am I? What do I do? Why do I do what I do? What's the value that I am bringing? And who am I doing it with? When you have answers to these five questions, you already have your story. I love storytelling, and artists are great storytellers. Why do you do what you do? And what do you want to be known for? It's about being conscious of your actions and the impact you try to make. You have to ask these difficult questions. If you are visible, then you can make it to the top. I want different kinds of leaders. If we want to turn women into the same leaders that men currently are, then what's the point? Then we might as well stick with the men. I want women to think about their leadership and know who they are. If you know who you are and why you do it, your self-confidence grows, and you are no longer afraid or embarrassed about sharing your story. Then you don't call it bragging but instead know the value of your story."&nbsp;

<blockquote><h1>“Music has always been my inspiration. I listen to music, and ideas come to me.”</h1></blockquote>&nbsp;On our site, we urge (young) creatives to share their story, process, and portfolio. Some are nervous or reluctant about tooting their own horn if you will. Seems like music artists have no problems promoting themselves and explaining their work.&nbsp;NP: "Not true. A lot of them do. Beyonce hasn't given an interview in years."&nbsp;&nbsp;OK, but she does know branding. And she uses it.&nbsp;NP: "Yes, because she's creative. And she figured out she didn't need journalists to tell her story. When I started in music, journalists and radio were gatekeepers. They decided who got access to their platform. Social media blew up the game. Creativity has exploded. Look at the number of TV shows, podcasts, and music. The gatekeepers are gone, so you no longer have to wait to be discovered."&nbsp;&nbsp;And that's a good thing?&nbsp;NP: "That's a great thing! But it also means that you must be creative in finding your audience. The true creatives will find an audience."&nbsp;&nbsp;Right, because while social media has enabled everybody to create a platform, the number of people vying for attention is overwhelming. How can you, as a &nbsp;creative, stand out and be seen?NP: "Stay as close to yourself as possible. When I started BrandedU 10 years ago, someone told me not to do it because there were so many similar things out there. But I knew I was creative enough to do it. Music has always been my inspiration. I listen to music, and ideas come to me. But I don't force it. I will spend three hours listening to Bob Marley songs. Artists never conform, and that's why they're my inspiration. They refuse to conform. When hip hop came up, some wanted to dictate what did and did not constitute hip hop, but artists said, '**** that,' and did their own thing. You can't compare Outkast to Eminem or Cardi B, yet it's all hip hop. That diversity and creativity are so inspiring to me. Music inspires me more than visual art because there's so much to dive into—the lyrics, the different sounds, the beats. They resonate with my soul and awaken something in me."&nbsp;

You make the creative process sound incredibly fun and inspirational. So, you never have any creative struggles?&nbsp;NP: "I do, but only when I think about what others expect from me. I need to stay close to myself, and I'm good as long as I do that. I'm creative. Creating an image is about making something that people expect from you. Personal branding is about you and your core values. It's the story that you want to tell."&nbsp;By the way, those feelings of self-doubt never go away. Every new project they’re there, but I’ve learned to lean into the discomfort. Leaning into discomfort makes you more intuitive, and I have learned how to use my intuition. I also learned from working at a record label that you must stop putting things in boxes. When I first worked with Alicia Keys, people in different countries said there was no single on the album. ‘Fallin’' wasn't considered a single. I didn't agree. And in the end, we were the first country in the world with a number-one hit and album. We got a fax from Clive Davis. So it made an impact.”&nbsp;&nbsp;With the events you organize, you also create impact. You often do things very differently than other business events: from live music to good food and a diverse line-up. And you are very hands-on. Why is that?&nbsp;NP: "I just want to create events that I enjoy. That's it. Pretty selfish, I guess, but I don't want to conform to what everyone else is doing. I want to bring my own creativity and make a unique experience for people. It's about being intentional and making choices that align with my values and vision. And that also means that everything from the playlist to the catering to the people working the event needs to align with my vision. I had an all-female stage crew and hammered on the fact that the catering crew needed to be as diverse as possible. Authenticity is key.”&nbsp;

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Creativity isn't, and shouldn't be, limited to those working in creative industries. Meet Nancy Poleon, founder of <a href="https://brandedu.nl/">BrandedU</a>, who is on a mission for more gender equality at the top of the business world. How? By making women more visible through personal branding. Before starting BrandedU in 2014, Poleon worked as a marketing manager for BMG in London, and she worked with artists such as Britney Spears, Alicia Keys, and Pink. She used her experiences and insights from the entertainment world to develop the Rock &amp; Roll Branding method.&nbsp;&nbsp;

NANCY POLEON: ROCK & ROLL BRANDING AND FEMALE LEADERSHIP

Where does your interest in creativity come from?&nbsp;BS: “As a teacher, I’m always trying to get students excited about the creative process. I push them to try new things and aim for originality, not just functionality. I want to unlock their creative potential. That isn’t always an easy task because you’re working in this big educational institution. But thankfully we have minors where I can facilitate creative growth in students.”What does that look like?BS: “Your level of creativity is linked to how your brain is wired but you can still influence things by opening yourself up to the creative process and to the uncertainty that comes with that. I for one always try to get out of my comfort zone. I try to be open to new ideas, work with people and move forward. And I urge my students to do the same. I also create the en environment that is conducive to creativity. Location is important: we have a studio at Amsterdam’s NDSM where we’re surrounded by all sorts of creative people: designers, artists, etc.We also make sure that the group of students we work with is diverse in that we have students from various international programs and backgrounds. Research shows that having a diverse group of people benefits creativity and innovation. I’ll give you an example: I set up the minor Immersive Environments and here students are exposed to an abundance of inspiration and opportunities. We use all kinds of new techniques and materials, like projection mapping with sensors.&nbsp;

My role as a teacher is more that of a co-creator and together with the students I get to explore whole new fields. We invite experts in their own specific field, from art to philosophy, to give a lecture and share their knowledge. And we also select interesting project partners to collaborate with. We have students working on projects for museums, but they can also create retail experience for consumer brands. The students really get bombarded with a lot of information and inspiration in a short amount of time. By exposing them to all these different things students can find something that makes their creative hearts beat faster. They become intrinsically motivated to work on something and you end up seeing tremendous personal growth.”&nbsp;&nbsp;<blockquote><h1>“Research shows that having a diverse group of people benefits creativity and innovation.”</h1></blockquote>

&nbsp;Working with other people. Sounds simple enough but it seldom is, isn’t it?BS: “You just need to beware of creativity killers. For instance, brainstorming in a large group never works. You really need to give people more space and time to reflect and come up with ideas. You also need a safe environment, one where there isn’t that much hierarchy or pressure. You want people to feel comfortable so they can express themselves. You can’t think big when you’re stuck in a small cubicle.” &nbsp;Why do you consider creativity a crucial 21st-century skill?BS: “AI can generate a lot of ideas and come up with a lot of different and new combinations. But we people still have our gut feeling. Our primal instincts help us determine whether or not something can have an impact on other human beings.Francis Bacon famously said that wonder is the seed of knowledge. I’d argue that wonder is often the seed of creativity. We need to hold on to this sense of wonder and we also need to believe that anything is possible. We’re facing enormous challenges and creativity can help create some much needed answers and solutions.”

&nbsp;Okay, so when you talk about challenges we’re thinking water shortage, climate change, economic disparity: to what extent can creativity help to ‘solve’ these big issues?BS: “In the Immersive Environments minor we’re mainly concerned with creating experiences, but these relatively ‘small’ creative exercises could very well translate into bigger things. You can take small steps and end up solving big problems. Working together is key. In our minor we have students from different backgrounds working together but they usually graduate by themselves. I’d love to change that and have students from art academies and technical universities work together on a graduation project. By bringing people from different disciplines together you get fresh perspectives and quite possibly the kind of creative solutions that we so desperately need.”&nbsp;&nbsp;Love that idea of a communal graduation project, but how realistic is that? Having a minor to experiment is one thing but what you’re proposing means cutting through a lot of red tape.BS: “I believe that even with a small group you can bring about a lot of change in education and learning experiences. Gradually, colleagues are also looking into this and together we’re trying to find ways to use new educational methods on a larger scale. Project education hasn’t really allowed much room for things like incubation of ideas and rumination time, which are extremely important in the creative process. I believe in design by doing. Learning about methods is one thing but there’s more to creativity than desk research and reading books: you need to test things and try things out. And not just at the end of the project, but throughout the project. You need to make things physical and visual in an early stage and then you can really start making progress.”

So why set up TIOC?BS: “I noticed that everybody is so busy doing their own thing that they don’t really know what’s happening in a different minor, let along a different school or country. I saw a lot of graduation shows and it struck me that many students were reinventing the wheel instead of building on what previous students had done. At Delft University you see the opposite with new students working on a new iterations of the solar car and with great succes! My goal is to make student work and their progress more transparent. The focus should lie less on an end product and more on the process of creative growth and the different ideas that students have. It's really just about showing creative growth. We interview experts about creativity. We offer tips, tools and training. We help to unlock creative potential, link students to companies, and set out creative challenges.”&nbsp;&nbsp;<blockquote><h1>“If you surprise yourself, you're already being creative."</h1></blockquote>&nbsp;Who is the target audience?BS “The platform is primarily aimed at students or young creatives who are still in their creative development. But anyone with a love for creativity and a willingness to learn new skills and link to other creatives is welcome to take part.”

Could you tell a bit more about the design challenges?BS: “We’re going to set out a number of design challenges, which are basically briefings that hopefully will excite students. One challenge will focus on how to design not for capitalism. How can you, in a society where almost everything is about making a profit, design for a better world? Another design challenge could be designing new experiences. Everybody is on their screen these days, which is a very isolated experience, but how can you create an overwhelming experience that people can enjoy, together, in one room?&nbsp; We’re also interested in asking students about coming up with new, immersive retail or restaurant experiences.”How do you feel about everybody jumping on the creativity train? Is there a danger of ‘creative washing’ with companies doing creative exercises but never really implementing change or unlocking their employees’ full creative potential?BS: “Like how design thinking has been embraced by the corporate world? I don’t see any immediate danger there. I would love for corporate giants to focus more on design thinking and really reevaluate the design process because that can lead to improved service design or better products. Creative growth isn’t necessarily easy to obtain, but it’s something that companies should aim for. Embrace creativity and allow for creative opportunities in your team.”Finally, what is your definition of creativity?BS: “There are a lot of different definitions that I agree with. One that resonates with me is this idea that you change your way of thinking and make connections that are new to you. If you surprise yourself, you're already being creative.”

Check out <a href="/profile/bart-jan">Bart-Jan's TIOC profile</a> for a portfolio of his work and his creative process.&nbsp;

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Bart-Jan Steerenberg (1975), designer, artist, teacher and founding father of The Institute of Creativity. For the past couple of years he’s been doing research into creativity at The Amsterdam University of Applied Sciences. As a result, he believes creativity is one of the most important 21st century skills, which led him to set up an educational platform on creativity.

BART-JAN STEERENBERG: FACILITATING CREATIVE GROWTH IN EDUCATION

What is creativity?&nbsp;DS: “Creativity is a brain process where old building blocks are combined to make something new.&nbsp;The front part of the brain plays an integral role in this creative process. All day long, we’re bombarded with information. We’d go crazy if we tried to process all of that information. That’s why we have filters in the prefrontal cortex and the thalamus that allow us to focus on what is essential. That filter differs from one person to the next.&nbsp;Some people have a wide open filter, which allows them to process an enormous amount of information. These people are very creative but also at risk for psychiatric problems because their ability to process information verges on the edge of what is humanly possible. Then there are people whose filters are so closed that there’s hardly any room for creativity, so they end up working as an accountant.”&nbsp;

<blockquote><h1>"People who are in love can be very creative. Just think of the artist and his muse."</h1></blockquote>&nbsp;Can we open up that filter and allow for more creativity?DS: “Alcohol works for some people. Others use L-dopa, a drug that is used in the treatment of Parkinson's disease. Oxytocin, the love hormone, also helps. People who are in love can be very creative. Just think of the artist and his muse.”&nbsp;Are there also methods that have less of a negative impact on one’s health and well-being? Relying on drugs or alcohol just doesn’t seem ideal.DS: “Being in a new environment is also very effective. In our institute , we send our Ph.D. students to other labs for a period of two years. The change of scenery and surrounding results in new ideas and impressions.&nbsp;What also helps is taking a multidisciplinary approach: take people from different backgrounds to discuss a problem or concept in a safe environment.”

We can influence the filter. Is there anything else we can do to train our creative muscles?DS: “In the 1960s and 70s, the 10,000-hour rule became popular, the idea being that you could master any skill if you put in the work and the time. That theory hasn’t held up. The level of creativity is determined by things that cannot be changed, namely your genetic makeup.Then there’s your IQ. A rise in IQ corresponds to increased creativity, although that effect only works up to an IQ of 124.Your character also determines how creative you are. And all those things are 50% determined at conception. And the other 50% in the very early developmental years.”&nbsp;<blockquote><h1>"The level of creativity is determined by things that cannot be changed, namely your genetic makeup.”</h1></blockquote>&nbsp;So it’s nature over nurture?DS “That’s a misconception. When we say 50% is genetic, people tend to assume that the other 50% is upbringing. But the nine months we spent in our mother’s womb, plus those early stages of development, also determine a lot. We come into this world with many character traits ingrained in us already.And then there’s this thing called self-organization. The brain, like any complex system, organizes itself. That makes every brain different and unique. If you’re lucky, you make special connections in that early process and end up with a specific talent, although that usually comes at the expense of other qualities. By attending school and receiving an education, we discover what we’re good at and if we have any talents.”

We're trying to find a one-size fits all solution to increasing one’s creativity, but I’m beginning to understand that there is no such thing, right?&nbsp;DS: “No, there isn’t. Every brain is different and needs different stimuli. Friedrich Nietzsche famously said, ‘All truly great thoughts are conceived while walking.’ Long walks worked for him, but that doesn’t mean they work for all. Some people get ideas while fast asleep. I’ve tried going to bed with a notebook and pencil on my nightstand, just in case I wake up with a brilliant idea. But, unfortunately, I have yet to write anything down.&nbsp;So what works for some doesn’t necessarily work for everybody. Although, in general, it helps to set the mood and create an environment where people feel good, where they can have fun and dare to think out loud and make mistakes.”

You’ve mentioned in your book ‘Our Creative Brains’ that having a history of psychiatry in the family also helps when it comes to creativity. How so?DS: “Ideally you want a history of psychiatric disorders in the family without suffering from any yourself. That way you have a genetic background that results in a different kind of brain that can make unique, more creative, and unexpected combinations."&nbsp;That plays into the old stereotype of the troubled artist who suffers for his work and whose genius borders on madness.&nbsp;DS: “Yes, except it’s not a stereotype. There are a lot of good artists who are bipolar. Take composer Robert Schumann. He was bipolar and when he was depressed, he didn’t produce anything. However, when in his hypomanic state, he created an enormous amount of work. He was composing day and night, only to fall back into a depression.&nbsp;Not all brain disorders lead to more creativity. People who have schizophrenia tend not to be very creative. But when you look at a movement like Art Brut you do see neurodivergent people who aren’t trained artists but whose work is incredibly creative. And for them creativity works as a kind of medicine.”

Speaking of medicine: some people fear medication to aid their psychological distress will effect their creativity. Is there some truth to that?DS: “Yes, there is. A big pharmaceutical company published a book composed of works of art that were made&nbsp; before and after the makers took psychotropic drugs. The company wanted to show the effectiveness of their medication, but art critics generally agreed that the works that were made before the artists took medication were far more interesting.”&nbsp;Well, that’s depressing! So some people really do have to suffer for their art, then? It’s wonderful to have these masterpieces that the general public can enjoy, but it comes at a huge personal cost for people like Schumann or Van Gogh.DS: “If Van Gogh had been given modern-day treatment, we wouldn't have a Van Gogh museum. Van Gogh knew he would always be half crazy. His brain functioned differently, but because of that, he could make new combinations and create something completely new.”

<blockquote><h1>If Van Gogh had been given modern-day treatment, we wouldn't have a Van Gogh museum</h1></blockquote>&nbsp;In recent years, employers began to see that they could gain from hiring workers on the spectrum, which has taken away some of the stigma associated with neurodivergence. Given what we now know about the brain and creativity: could the same happen to people with psychiatric disorders?&nbsp;DS: “It’s the very reason why I wrote books for general audiences. I wanted to do something about the stigma and taboo that comes with brain disease. When you learn what a fantastic machine the brain is and the molecular biology behind brain development, it’s a surprise that people turn out reasonably well on the whole. It is such a complex mechanism and so many things can go wrong. Autism is a good example. Sometimes people on the spectrum have difficulty making eye contact or communicating with someone face to face, but they can communicate perfectly over the Internet or can focus on one particular task. At the Philips laboratories and at the Technical University in Eindhoven relatively more employees were on the spectrum. These people ended up marrying one another and having kids. And because autism is 70% genetic, there is a huge spike in autism in Eindhoven and surrounding areas.”&nbsp;How do you, as a man of science, look at AI's developments and their effect on creativity?DS: “AI is a huge hype right now, but it’s not creative. Nothing good comes out of it and computers aren’t taking over. AI takes over simple tasks that we would like to get rid of. Routine chores we’re not interested in. AI can carry out a certain assignment in a short amount of time and ad infinitum. A computer program can beat anyone at a chess game or checkers if programmed to do so. But you can’t surprise it with a game of snakes and ladders.I also don't see AI writing a really good novel because it lacks the emotions that a human has.”&nbsp;For now at least.DS: “No, I really don't see that happening. AI is good with big data and pattern recognition, but not with emotions. And you need emotions for art. There was a monkey in London Zoo, and he created works of art that fetched a lot of money, and even Picasso and Matisse were interested. But when you saw the monkey at work he was like a 3-year-old, just churning out work after work in great succession. There was no emotion in it at all. And you need emotions to make something special.”&nbsp;

So in conclusion, I don’t have to fear AI just yet because as a human, I have something special, namely emotions. But how about the story I’ve told myself: that I’m creative because of my upbringing or the constant exposure to art. Is there any truth to that narrative or is my creativity simply the result of a genetic lottery?DS: “You can come up with any narrative you like. That’s what we do. As humans, we have a number of useful illusions we tell ourselves and one of them is the illusion of free will. The other, that life makes sense.In the end, every human being is unique, every brain is unique. But it's not unique to be unique.&nbsp;Everyone is unique.”&nbsp;

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Dick Swaab (1944), a distinguished Professor of Neurobiology at the University of Amsterdam, is a leading authority on the human brain. Throughout his extensive career, he authored numerous publications, received many awards and honors, and wrote several bestsellers, including 'We Are Our Brains' and 'Our Creative Brains.' A conversation about the incredible machinery that is the brain and how it sparks creativity.&nbsp;

DICK SWAAB: THE CREATIVE BRAIN

We meet up at Capital C, Amsterdam's creative hub, housed in a former diamond factory. Our interview takes place in the old clock tower, which Kessels has converted into a unique office space. All the walls and ceiling are adorned with a large, eclectic collection of clocks. You can rent the space for as long as you need, but be warned, when your time is up, a cacophony of sound will ensue as all the clocks go off simultaneously. Kessels demonstrates this by setting the alarm, and the sound of hundreds of clocks ringing at once is a jarring experience that only ends when you hit the big red buzzer, cleverly concealed within one of the larger clocks. "It's an effective way to bring a meeting to a close," Kessels says with a smile.

What is your personal definition of creativity?EK: “Ultimately, creativity is about doing things differently. When something is ‘different’ and unusual it surprises you, makes you laugh, or makes you think. Creativity is something that inspires people to think and see things differently. Plenty of people say they work in the creative industry, but they've never done anything creative. They're just robots sitting behind a computer, churning out content and following data. Which is why I think it’s more important than ever to put all your energy into your personality and your thought process.&nbsp;People think that creativity is about finishing something or making it perfect because that’s what we tend to focus on. We like to present the finished product: picture-perfect portfolios, glossy websites and Instagram accounts. But that's not really creativity. I usually explain it using the front versus backyard metaphor. The front yard is sort of a reflection of who you are: it’s a little bit creative, but on the whole it’s really a place for people to walk by and look at, which is why everything looks perfect and tidy. However, it’s the backyard that’s interesting because that’s where you’ll find the real creative stuff: unfinished proposals, passion projects, but also feelings of frustration and shame. It’s a place you fence off and where you spend a lot of time struggling and tinkering with things. It is here where ideas are born, which are then moved to the front yard for all to see.Many schools and companies only focus on the front yard – your portfolio – and not so much the backyard – your personality – which is such a shame. I believe that 90% of the time, the focus should be on students’ personalities, on their potential and on teaching them to think as extreme as possible.”&nbsp;

So I gather you believe that creativity is a teachable skill? Or is creativity an innate talent, bestowed on a lucky few?EK: “I am of the opinion that creativity is not an innate talent that people are born with. While some individuals may find it easier to let their minds wander and discard preconceived notions, that's really as far as it goes.&nbsp;Creativity can be hard work. Every time I have to come up with something new, I feel like a beginner all over again. At times, I'll feel inspired, and an excellent idea will materialize in just a few minutes. Other times, it takes weeks of aimlessly wandering, struggling through a maze of clichés to finally arrive at something worthwhile. It's always one of two extremes: either it comes to you quickly, or it's an uphill battle.When it comes to creativity, it's not just about putting in long hours, but rather about picking the right moment. Some agencies have a culture of working late into the night, ordering takeout, and pushing for another round of brainstorming. I don't believe in that approach. In my experience, no one ever came up with a truly innovative idea after 8 pm. I encourage people to go home, get some rest, and come back the next day with a fresh perspective.”&nbsp;<blockquote><h1>"Creative people who are successful can be a bit selfish or even a bit of an asshole but sometimes that's necessary.”</h1></blockquote>

What does that creative process look like?EK: “Most of the work is done in my head. I don't just sit behind a desk or a computer to work something out, instead I walk around mulling things over in my head, visualizing ideas and trying to come up with the best ones.&nbsp;I'm always ‘on,’ constantly on the lookout, discovering new things every day. It could be something I read, research, or some unknown artist I stumble upon. Then, I delve into it and find out everything I can. Sometimes I buy their work, read about them, or even try to meet them in person.I have this antenna and just pick things up from my surroundings, whether it’s conversations I overhear on the street or a note that’s lying around somewhere. I process all that information and then, through association, link things together to generate something new. And the hardest part in all of that is letting go of the fear that you might not be able to come up with something. Or trusting that a concept that pops up in just a couple of seconds is worth pursuing.I'm addicted to the thrill of generating some awe-inspiring idea: once or twice a year, I'm genuinely stunned by my own work. It's an incredible feeling to know that I produced something that surpasses my expectations, and I cherish these moments. They're unpredictable and can't be forced, but they keep me hungry for more.”

And then comes the moment of presenting that great idea to a client. Do you welcome or loathe feedback?EK: "I don't show my ideas to others until I'm completely satisfied with them. Then, after getting some feedback, I might make some small changes, refine the idea, but once it's finished, nobody can change my mind about it.&nbsp;Creative people who are successful can be a bit selfish or even a bit of an asshole but sometimes that's necessary. The creative process is inherently fragile, so I am mindful of that when collaborating with others. However, when it comes to standing up for my ideas and defending my work, I will fight for what I believe in. This doesn't mean being rude or unpleasant, but rather being assertive and confident in my vision.”

Speaking of a tense situation. How do you look back on the controversy following the ‘Destroy my face' project? (ed. Kessels designed an installation featuring ramps adorned with digitally altered images of surgically enhanced faces that were later damaged by the skaters who rode over them. Two young women initiated a petition requesting the organizers to remove the artwork.)EK: “I spent a year working on this project. I did extensive research, consulted with cosmetic surgeons. A team of roughly 100 people saw the project before its public release and no concerns were raised. There was never any red flag, so I was quite shocked when it suddenly exploded. It was very intense and for about four to five days I just stayed home, curled up under a blanket, watching National Geographic. But once the initial shock passed I wanted to take action. I reached out to the young women who started the petition but they didn’t want any contact. Under pressure of an American sponsor the work was removed but if anything the whole thing has motivated me to continue creating and pushing boundaries.”&nbsp;<blockquote><h1>“I'm addicted to the thrill of generating some awe-inspiring idea: once or twice a year, I'm genuinely stunned by my own work.”</h1></blockquote>

How do you push those creative boundaries?EK: “You have to keep taking deliberate turns in your thought process. Purposely make a mistake. Enlarge something or make it smaller. Turn something around or upside down. And have a beginner's mindset. Every professional started out as an amateur and it’s good to return to the kind of spontaneity and naivety that you once had.Sure things can go wrong, but what do you have to lose? You might hit a wall but then you just turn around. For instance, we once had a small assignment from a school in Den Bosch where they had a huge problem with garbage on their campus. And instead of solving the problem, we made it worse. There were plenty of trashcans on site but nobody bothered to use them. So we put a sign on them, which read ‘trash only’ and made it difficult to actually throw stuff in them. We put a fence around one and placed another one high up in a tree, which could only be reached with a ladder.”&nbsp;

Can the advances in technology help push our creative boundaries?&nbsp;EK: “Technology and all those tools are fantastic, but their value depends on what you do with them. There are always a few pioneers who make something unique or worthwhile using new technology, followed by others who produce uninteresting content. I remember when YouTube came up and all these companies insisted on having a video on YouTube. It was ridiculous, everyone was doing it and those videos had zero impact. Or take the opportunism and hype that came with things like virtual reality glasses: they’ve been around for two decades now and still haven’t caught on. The fact that there's a bit of a buzz with the metaverse now is just sad, with a commercial company feeling the heat. Take NFTs: the concept behind them is super interesting, and some people have made a real difference with them. But then the masses came along and ruined it all, and it became about quick money and clichés. Ultimately, it is individuals who can make a difference, and those with exceptional skills are becoming increasingly valuable as automation becomes more prevalent.”

Erik-Kessels-Profile.jpeg

Erik Kessels (1966) is a Dutch artist, designer, and curator, known for his work in photography, advertising and publishing. He the co-founder and creative director of KesselsKramer, an independent communications agency based in Amsterdam. Kessels is a prolific artist whose work has been exhibited at galleries and museums around the world, including the Museum of Modern Art in New York, the Victoria and Albert Museum in London, and the Stedelijk Museum in Amsterdam. He is best known for his work in the field of photography, specifically his use of found photography, and to date has published well over 100 books. A conversation with a modern-day Renaissance man.

Creativity