I’ve been feeling the creative pressure, at least as it applies to teaching workshops! After several years of avoiding teaching engagements, I’ve done a few recently and booked a few more for 2017. I’m still on the fence about my suitability to this teaching long term. I can argue both sides.
- I get to travel and meet wonderful people.
- It’s easier to sell instruction and supplies than finished jewelry. (Sad, but true.)
- Working out class projects forces me to clarify the processes that I use, to simplify and streamline as much as possible, to work out all the little bugs that inevitably arise with the development of new techniques.
- I learn from my students. They see things differently, and that can really stimulate new ideas for my own future work.
- Workshop income brings extra materials or new tools to the studio.
- Teaching is hard work. The pay doesn’t nearly cover all the hours invested in developing the project, making the samples, writing out notes, and travel before I even teach long hours at a workshop. I’m a bit obsessive about making multiple samples at different stages to show, an itemized timeline, detailed notes with photos, and a comprehensive packing list, as well as taking every tool I can imagine that might be needed to solve a potential issue. Admittedly, if I taught the same workshop more frequently, all that work would amortize out and make more sense…a reason to stick with it.
- Showing how to duplicate my work is an artistic quandary. I sweat blood to develop my own ideas, an artistic voice of my own, and a complex body of work. When I teach, I strive to lead students to put their own personal twists on the class project rather than simply duplicate my sample, but exact duplication has to be inherently acceptable. Ultimately, I have to trust my own creative voice to always be moving forward. Realistically, I’m not teaching my latest discoveries or ideas because I don’t have those all worked out yet. I’m teaching older debugged techniques, which are second nature to me, but new to students. I release those ideas into the greater world, trusting that I’ll be rewarded with new ideas.
- I’m an introvert. That means that I can enjoy the group experience of a workshop, but it’s draining for me. I get my energy with solo time, not from other people. So a workshop is a one-way energy drain for me. I put my all into it, and I come out the other side exhausted. Normally, a full week afterward is needed for recovery.
- All that time spent preparing for workshops is time subtracted from my own work. A class sample is desirably something I as the instructor can knock out with ease. As an artist, I’d rather be pushing the edge with new ideas, some of which will inevitably fail. Time must be allowed for experimenting, but workshops are not experiments.
As we charge into the now-not-so-new year, I feel that I’ve spent the first six weeks working as much on workshop prep as on my own designs. And I have to ask myself what I really want from all of this.
Stay tuned for details about the upcoming workshops.