James Marsh

INTUITION/IMAGINATION

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

I would say that I’m subliminally intuitive about most things, and especially with my metaphorical creative hat on. That specific form of inbuilt programming can influence on many levels, in particular helping to put one’s own individual style or stamp on things, which is achieved quite naturally, and without ever being conscious of such inbuilt programming; something akin to a genetically encoded fingerprint.

As a rule though, I find it far better NOT to be over analytical about such personal default settings.. accepting it’s far better to simply let the phenomena continue unquestioned, taking an ‘if it ain’t broke, don’t fix it’ stance.

On a day-to-day level, ideas can, and do, manifest themselves at any point, but don’t particularly appear to me in dreams, although daydreaming would be hard to discount.

I can honestly say.. that I’ve never had a block concerning ideas or concepts for projects, unless you include having too many options to choose from as being one of them.

Quite often, I’ll have good ideas or solutions presenting themselves to me in bed during the early morning, especially when I’m in that wonderful liminal state.. halfway between sleep and stirring. In principle, the subconscious intuitive aspect of my personality seems to be working perfectly fine for me.

?: Will any ideas be written down immediately and archived?

When a solution present itself, I will make a note or create a simple visual, but most likely will head to the computer and begin the writing, or design process, while it’s fresh in the mind.

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

It very much depends on what the ideas are being applied to. I usually find that a simple, logical solution works best in most cases. Something which communicates instantly with the viewer. Another approach I regularly employ, is taking what I think is a perfectly good concept, and then consider how it can be improved on, or alternatively try applying some sort of twist or opposing theory, which in turn can contribute extra depth and meaning beyond the initial surface level.

Occasionally I think that a more accurate work description of ‘Problem Solver’ might be more apt. for myself, rather than Artist or Designer.

?: Do you feel that new creative ideas come as a whole or do you get like a little seed of inspiration that evolves into something else and has to be realized by endless trials and errors in form of constant developments until the final result?

Ideas are generally visualised fully-formed, and just need bringing to fruition, but inevitably they will evolve and get polished during the development process. Another of my discerning traits, is occasionally creating visual variations of an image for myself. That way, I’ll be in a prime position to select the best option for presentation.

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

I think one’s experience helps to fast-track things in such a situation. It’s also most important to envisage a solution that will be achievable within the given timeframe.

INSPIRATION

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

Inspiration can come at any time, in any form, and simply spring from everyday activities.

It should all feel like a natural or organic process though, whatever happens.

The most important thing with any job is.. to be fully briefed on the actual project in order to gain a complete overview of the subject at hand, ideally before even looking for any sort of solution.

?: How do you filter between ideas that are worthwhile pursuing and bad ones that you just let go of?

Instinct and experience I guess. If you have many ideas to choose from, the tendency is to select something that you instantly connect with over and above the others; I would also be inclined to lean towards the unexpected, rather than the over familiar - innovation helps keep things fresh.

?: Does an idea need to appeal to you primarily or is its commercial potential an essential factor?

Ideally it should be both, especially if you are expecting others to engage fully with it. Any satisfactory solution relies on the problem solving aspect initially - content over style is an important factor to keep in mind, not the other way round.  Certainly style is an important factor in its appeal or for gaining attention, but it should be integral, rather than appearing as mere visual candy.

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

Certain ideas or recurring themes become part of one’s visual identity, but can also behave like spring-boards to something entirely different altogether, so, I’ll embrace any starting point in order to get the ball rolling. 

With regards to potential competitors - I don’t perceive my work as being in competition with other artists, and in principle, won’t actively seek out what others are doing. This particular mindset is mainly to avoid plagiarism, which could easily happen, even on a subliminal unconscious level. Basically I prefer ideas to emerge from within, but inevitably exterior influences can’t be avoided completely, unless you’ve been living in a complete vacuum.

CREATIVITY

?: What time or environment best suits your creative work process — for example, a time and place of tranquility or of pressure? Which path do you take from theory or idea to creation?

With the exception of domestic activities, engagements & holidays, I choose to work every day if possible, so there is no other schedule or process involved. I’m fortunate in having established an ideal working environment that suits me on all levels, so I think that this fixed constant plays an important role regarding my working comfort zone.

Ideally, I prefer to complete a project after the initial concept, but more often than not there’s a delayed gratification process involved, i.e. the clients deadline requirements, which can depend on many practical factors, not least the financial one.

?: What’s better in the realization process — for example, speed and forcing creativity by grasping the magic of the moment or a slow, ripening process for implementation and elaboration?

It’s fairly straight forward for me.. there’s generally a beginning, middle & end, and ideally a fast turnover would be the most satisfying. Although on certain personal projects, after a period of time, I might well contemplate some room for improvement, which is always an extra perk when it’s actually realised; although this type of creative option, or luxury, is rarely involved on commissioned projects.

?: How important are self-doubt and criticism by others during such a process?

You need to be confident in your own convictions. As to other opinions.. everyone’s opinion will be different, and each has a right to their own.  I’ve been fortunate, in that most of my clients give me a completely free hand in what I do, and for the most part have been satisfied with the results. There have been the odd occasions where a client has had a very specific vision in mind, and in such a particular case, you’ll instinctively recognise that it won’t ever be achievable.

?: Is it better to be creative on your own, to trust only your own instincts, or to work in a team?

I work best on my own, and that’s usually the norm, although collaboration can be equally rewarding.  In principle I don’t mind any outside suggestions, but only if I feel it benefits the final outcome. I find that a very strict brief is is too limiting for the creative process to function fully, so I will politely reject such offers in favour of something with more far potential.

?: In case of a creative block or, worse, a real failure, how do you get out of such a hole?

It’s not necessarily a creative block which stands in the way of solving a problem. I find it’s more likely that a client isn’t willing to follow your initiative, or else decides to be more conservative in their creative approach.

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

In principle, yes. However, if you are commissioned for a specific project, the main focus should be on the project at hand - finding a solution to suit both yourself and the client is all part of reaching a satisfactory conclusion.

?: How are innovation and improvement possible if you’ve established a distinctive style? Is it good to be ahead of your time, even if you hazard not being understood?

Well, it’s called evolution. The more you work at something the better you become. Nothing really stays the same, and striving for improvement is always the motivational spur. It’s like speaking another language really, the more practice, the more fluent you’ll become.

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

You should know instinctively when something is completed. There may be times, in retrospect, when you feel a few teaks would have improved a piece of work, but in general market forces don’t allow for that, unfortunately.

?: How does artificial intelligence change human creativity? And do you? Would will you use it at all?

AI will undoubtably change the creative landscape as we know it, but I haven’t delved any further as yet, mainly because I don’t feel a need to go down that particular rabbit hole myself. I believe individuality is the key here, doing something unique and personal to oneself; perhaps AI will evolve to become part of that someday?

SUCCESS

“Success is the ability to go from one failure to another with no loss of enthusiasm.” Do you agree with Winston Churchill‘s quote?

Basically.. yes. Although I would prefer to go from one success to another, and then be more inclined to add.. ‘if a at first you don’t succeed… try again’.

?: Should or can you resist the temptation to recycle a ‘formula’ you're successful with?

I don’t resist the idea to recycle good ideas or methods, or even material, on the contrary, I’ve done exactly that many times. Invariably, if an idea is rejected for one project, it can work perfectly for another further down the road. All ideas will get stored somewhere on the intangible internal hard drive, just waiting for a chance to shine.. at least once if not more.

?: Is it desirable to create an ultimate or timeless work? Doesn’t “top of the ladder” bring up the question, “What’s next?” — that is, isn’t such a personal peak “the end”?

It’s futile to attempt planning a ‘timeless’ piece of work as you put it, such rare things only become apparent in retrospect.. and even then, are only decided after a long period of time. 

As an artist, you’re always learning, honing skills and striving to progress, consequently one can never say ‘I’ve reached the end’.. there’s aways more to achieve.

MY FAVOURITE TALK TALK ALBUM:

Throughout my career I’ve produced plenty of work for various sectors of the industry, many to be proud of, and often worked in alternative mediums & styles, some with varying degrees of success. Yet despite having an extensive back catalogue, one of my most popular, recognisable and enduring images has to be ‘Spirit of Eden’, albeit painted back in 1975.

It came to prominence when selected by Mark Hollis, to be used on the cover of Talk Talk’s 1988 album ‘Spirit of Eden’, which is now considered by many musicians, and fans alike, to be the band’s most seminal recording.

That piece holds a particular resonance for me, mainly because it was created at a transitional time in my career. The painting itself is imbued with a very personal aspiration, whilst simultaneously implying the visual direction I wanted to go in at the time.