Give your Idea Context, and People will Get it

"Self-Portrait" 11 x 14 Pastel on paper, textured

Nir Eyal the author of “Hooked” How to Build Habit-forming Products discussed the importance of putting things in context. He tells the story of world-class violinist Joshua Bell who decided to play a free impromptu concert in the Washington D.C. Subway Station.

If you’ve ever bumped into someone and you know you’ve seen them before, but you can’t remember where, this is what Bell was up against. Bell regularly sells out venues in Kennedy Center and Carnegie Hall for $100 per ticket. But in the D.C. subway, he was someone people may or may not have known, and he was playing out of context.

Joshua Bell’s incredible music fell on deaf ears. In the eyes of passersby with a built-in agenda and time constraints to catch a subway, he was no better nor worse than the fiddle players who leave a hat or a violin case on the ground for gratuities of pity or generosity. Almost nobody knew they were walking past one of the most talented musicians in the world.

Eyal excuses the people by saying: “The mind takes shortcuts informed by our surroundings to make quick and sometimes erroneous judgments.”

That’s why when you have something important to say, or you want to make an impact with your product or artwork, put yourself and your image in context. Each painting tells a story. A poor composition will lead people on to another painting, your article won't be read, and your product may not be sold if they are not relevant to participants.

Exposure is good. Many remarkable musicians and artists do free concerts in the park, or show their artwork for a good cause. Tell your story in pictures, in dance, and in words. Tell your audience what you’re going to talk about or do, show them later in action, and then summarize what you’ve shown them or told them about.

Put your life and your words in context. Make it relevant by drawing your viewers (or listeners) into your story and by giving them a reason to get involved. Think of audience interaction as a circle. The venue, the excitement starts with you. The story or the heart of your composition takes people and leads them through your scene. When participants complete their journey, you are waiting for them again to thank them for coming and inviting them to return.

The circle signifies completion. Not all roads lead to Rome as in the past, but the experience will leave a positive impression that may lead to future sales. As Joshua Bell discovered, it’s better to put your work in context (the proper setting) than to take people by surprise in a strange environment.

Of course, if you’re a complete unknown, entertaining people in a receptive corner of your world may be advantageous. Just be sure that your “debut” doesn’t get trumped by too many distractions.

"Baby Elephant" Palm Frond Mask from Queen Palm

The before is below. I was sure I could see a baby elephant in this woody find of nature.

Brush drawing, "Mother and Child"

Every December our church and some generous volunteers, put on an unconventional nativity titled "A Walk through Bethlehem.". The characters are asked to read the Christmas story as found in Matthew, and a script suggesting possible action and dialogue, and then they improvise before a live audience. You never know what the characters will say on any given evening. You never know how the touring audience of 10-15 people per group will react.

A hunched over beggar stands outside Bethlehem's walls. He asks for mercy and pleads for shekels. This year an adorable guest asked her father for money and then skipped over to drop it in the beggar's bag. Another child attending for the third year had brought a gift for the baby Jesus. The child approached the stable, tiptoed up to the manger, and wished the baby Jesus "Happy birthday." He kissed the babe's head, and placed his gift beside the swaddling clothes.

My first year as a volunteer, I played an innkeeper. My job was simply to complain that Bethlehem was brimming with people who were there to pay taxes, and that I had no room for anyone, especially these new visitors. After all, I had just turned away a mother with child, riding on a donkey.

That first year, I thought the presentation was a bit "hokey." A little too informal for my taste. After all, I had been involved in a real pageant with a cast of hundreds, and professional actors and directors. Surely, this little play by a local church could have no impact or make no impression on the community. But I was oh so wrong.

This year I was a greeter; able to listen and observe the adults and children who walked through the grass, past the wooden props of sheep and donkeys, past the wooden scenery that I had helped to paint a few years earlier. I saw the wonderment in the eyes of the children. I heard adults express their gratitude at how much they looked forward to their "Walk through Bethlehem" each year, how it renewed them and prepared them to celebrate the birth of their Savior. And I felt the spirit that can only come in a simple stable, with simple people who in humility welcome the birth of God's Son.

Merry Christmas everyone -- and Happy Holidays!

"Mother and Child" is a monochromatic brush drawing using Burnt Umber Oil on a 12x16 panel. The painting is available for sale at $249 including postage; giclees, prints, or cards are available at:
http://carol-allen-anfinsen.fineartamerica.com