Harold Davis

INTUITION/IMAGINATION

How does intuition present itself to you – in form of a suspicious impression, a spontaneous visualisation or whatever - maybe in dreams?

Intuition presents itself with endless variety, so this answer to this question is “all of the above” --- or sometimes none. But I will note that intuition often whispers rather than shouts: so the trick is listening for that soft whisper and then amplifying it. I pay attention to my dreams, and I listen for quiet, apparently random thoughts, and then try to amplify them.

Will any ideas be written down immediately and archived?

Yes, I like to write down ideas when I have them, so I don’t forget them. I use notebooks for this. Often I will jot down a quick note, forget about the whole thing, then come back to the note a while later, and realize and reconstruct what I had in mind.

?: How do you come up with good or extraordinary ideas?

I wish I knew. Acting and perceiving and being in a state of openness is important to this process. And, it is a process: good ideas are never born whole, and must take some time to gestate.

Are great ideas based on intuition and do they reveal themselves in a kind of clear as well complete version that just has to be realized? Or is it endless trials and errors (after the first spark) that result in constant developments up until the final result?

I’ve had both these happen: sometimes an idea presents itself as complete except for the execution. But more often the process of coming up with an idea is a process of honing, and of trial and error.

What if there is a deadline, but no intuition? Does the first fuel the latter maybe?

I don’t think deadlines fuel inspiration. But if one can step back from the deadline and take a breath, then sometimes inspiration will strike regardless. The trick is not to get overwrought by the deadline, because this can make one freeze and become uncreative. I’d also advise not to accept unrealistic deadlines in the first place, and generally not to accept assignments that are not to one’s taste --- if you wouldn’t have done it on your own, maybe you shouldn’t take it as an assignment.

INSPIRATION

What inspires you and how do you stimulate this special form of imaginativeness?

I like to reveal the unseen, and to see things in new ways. If there is something about an idea, or a visual that gives me a frisson of delight --- or of terror --- then I think this is something worth exploring.

How do you separate the good from the bad and which ideas are worthwhile to be explored further or whether one idea has the potential of being outstanding really?

The truth is that this is almost impossible for anyone to evaluate ideas in real time. I go through a process almost always where I love what I am doing when I first start doing it. After all, to start an affair there must be at least infatuation. Then, in the morning, I ask myself, what was I thinking? The idea becomes spoiled and worthless. I can only do a proper evaluation after some time has elapsed. After all, the apparatus for evaluation is analytic and rigorous, and very different than that of creation, which is lucy-goosey, and relies heavily on intuition and serendipity.

Has it to appeal to you primarily or is its commercial potential an essential factor?

An idea has to appeal to me. In the development stages I couldn’t care at all about commercial potential.

Do you revisit old ideas or check what colleagues/competitors are up to at times?

I do often revisit old ideas, and rework old applications, or create new versions. I don’t pay much attention at all to the work of colleagues or competitors.

CREATIVITY

Which time/place/environment suits your creative work process the best (tranquillity or pressure) and which path do you take from theory/idea to creation?

I am fond of tranquillity, peace, quiet, and kindness.

What is better in the realization process: speed and force creativity i.e. grasp the magic of the moment, or a slow, ripening process for implementation/elaboration?

Both are important.

If problems occur during creativity or one’s stuck even, how can these be solved?

If one is really and truly stuck, it is best to move on to something else, or even go out for a walk, and come back to the creative project when one can approach it from a fresh point of view.

How important are self-doubt and criticism (by others) during such a process i.e. is it better to be creative on your own, only trust your own instincts, or in a team? 

I’m not much interested in criticism by others during the creation process, as I think that can paralyze things. The only person I turn to for input is my collaborator (and spouse). I don’t know if there is a “better” or “worse” about this, but the most important thing for me is to hear my own voice --- and too much input from others can drown out my own instincts.

Should a creative always remain true to him-/herself including taking risks & going against the flow or must one, for reasons of (commercial) survival, make concessions to the demands of the market, the wishes of clients and the audience’s expectations?

I never compromise or make concessions. My work is valued because I am true to it, not because I follow the dictates of a marketplace or focus group.

How is innovation still possible if one has established a distinctive style and, just in case, is it good to be ahead of one’s time even one hazards not being understood?

It is always possible to move on. I work in a number of different genres, and while I am recognized in some of them, in others the world has not caught up with me yet.

When does the time come to end the creative process, to be content and set the final result free - or is it work-in-progress with an endless possibility of improvement?

At some point, work should be set free. I actually don’t like revisiting work that I regard as complete, I am more interested in moving on.

In case of failure or - worse - a creativity crisis how do you get out of such a hole?

Any artist who has not failed has not taken enough risks, and not tried hard enough. I remind myself of this, and just get over it, and move onto a new project.

SUCCESS

Should/can one resist the temptation to recycle a ‘formula’ one’s successful with?

I am not really a believer in formulas, but if one thinks one is merely recycling a formula, this is a killer of creativity, and should be avoided.

Is it desirable to create the ultimate/timeless work, but doesn’t “top of the ladder” bring up the question of “what’s next?” i.e. isn’t such a personal peak “the end”?

I don’t like to think about this. There is no “top of the ladder” for me, and no matter how good the work there are always more creative challenges to approach.

MY FAVORITE WORK:

I feel about my work like I do about my children, it is hard to single just one out as my favorite. That said, ‚Tulip Pano‘ is an image of mine where everything came together --- and it doesn't hurt that this image was selected for use as a U.S. "Forever" postage stamp. I like the colors in this image, the grace in the implied movement, and the way the composition is almost symmetrical, but not quite. The balance/imbalance in this image creates a slight sense of mystery that contrasts with the perfection in the flowers.