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Introduction
The focus of this chapter is to expand on the framework and components of the self-study model that is inclusive of arts-based methods and a variety of thinking processes with the aims of multidirectional, imaginative, and flexible thinking about professional practice. The theoretical underpinnings of the self-study model are grounded in the numerous intersecting domains discussed in the Introduction and throughout this textâall of which support reflexivity, dialogue, connectivity, and creativity. While the components of the self-study model are individually discussed, in practice they are relational and evolve in rhizomatic and nonlinear ways (Deleuze and Guatarri 1987). Thus, a visual arts practitionerâs self-study inquiry may be akin to a ânomadâs ventureâ[of] movement, discovery, and sought after places offering potential for new perspectivesâ (Charney 2017: 42). In consideration of these potentials, rhizomatic principles are discussed relative to the self-study model. The four core components of the self-study model are outlined followed by a discussion of the various integrated methods applicable to the self-study process.
Rhizomatic principles applied to the self-study model
Deleuze and Guattariâs (1987) metaphor of rhizomes is a lens to understand how professional practice as a whole can be dynamic, complex, unpredictable, multidirectional and resilient. Rhizomes are defined as plant growths characterized by lateral shoots and with offshoots that can grow in any direction in an âacentric non-hierarchical network of entangled and knotted loops folding and growing through multiple sites of entryâ (de Freitas 2012: 588). Rhizomatic thinking, as explained by Deleuze and Guattari (1987) describes the way that ideas can be interconnected and generative. In this sense, professional practice as rhizomatic is a continuously adapting and generative system of practice. Of critical importance to the self-study process and model are the rhizomatic principles of multiplicity, rupture, lines of flight, and assemblage (Deleuze and Guattari 1987). Multiplicity refers to the ârandom and multi-directional aspect of growthâ (Charney 2017: 11) that can occur within the life of a professional practice. Rupture describes the breakage of pathways or connections within or between areas of professional practice that may occur at any time, and particularly, at transitional points. Rupture, however, does not mean loss. If, for example, âthe rhizome [that is, professional practice] is ruptured at any point in two pieces, the two pieces would grow along the lines of rupture and regenerate themselvesâ (Senagala 1998: 3). Lines of flight describe new thoughts or professional paths âwith the capacity to extend ideas in new directionsâ (Charney 2017: 11). Assemblage refers to a process of gathering, adding, and combining often-unrelated things, objects, or ideas. Relative to professional practice, assemblage can explain how a professional practice is âa constantly changing assemblage of forces and expectationsâ (Stagoll 2005: 27 in MacDonald 2014: 234) and where practice is formed, and re-formed, as a result of unexpected or random events.
Four core components of professional practice and the self-study model
The four areas of professional practice and self-study are discussed to elucidate each area of the self-study model recognizing that in practice they are relational, evolving, interconnected, and rhizomatically networked. As practitioners move back and forth between, and in-between, the spaces of professional practice, professional practice may be understood as âunfolding experiencesâ and a âprocess of becomingâ (MacDonald 2014: 15â16).
Figure 1.1 is a collage of drawings representing the four areas of professional practice and the self-study model that is suggestive of the rhizomatic, expansive, and fluid nature of professional practice. Working with photocopies, and relying on intuition (Bosch 1996), several versions of the model were drawn and combined; areas of the drawings were randomly placed in a process of selection and regrouping to allow for new patterns and rhizomatic lines of flight.
Figure 1.2 is a digitally enhanced version of Figure 1.1 and was created by a digital tracing of the edges and contours of the collage. The notion of tracing has relevance for professional practice for it is through reflection that pathways of practice can be retraced to gain new configurations and insights.
Professional identity. Professional identity is central to professional practice and is shaped by many variables and intersectional factors (Crenshaw 1991; Klein and Diket 2018; Ropers-Huilman and Winters 2010) that are further discussed in Chapter 3. Many of the variables shaping professional identity may be understood to fluctuate and influence in varying degrees and at varying times. Some variables may be important at one stage of a professional practice, but not at another stage. Fluctuations to professional identities may also occur due to unforeseen events in oneâs personal and professional life that result in changes to a professional practice.
The complexity of professional identity formation requires an understanding of the kinds of identities associated with visual arts practitioners, such as hybrid, multiple, overlapping, and shifting professional identities. The exploration of professional identity also addresses identity change and dissonance; how, why, and when it occurs; and the roles of communities in shaping professional identities.
Work cultures. This component of the self-study model highlights the relationships between individuals and the collective (i.e., communities and organizations) and places in which visual arts practitioners engage in professional practice. Intersectionality and social identity theory (Crenshaw 1991; Klein and Diket 2018; Ropers-Huilman and Winters 2010) inform understanding of the roles of work cultures and climates, group tension, group cohesion, and mentoring in influencing personal, group and cultural, as well as professional identities. These complex dimensions of work cultures are addressed in Chapter 4.
Change. Uncertainty and change are part of every professional practice and experienced as a result of both expected and unexpected events. Some potent areas for self-study are the spaces of professional practice where vulnerability and uncertainty exist. Understanding the qualities and components of change can be helpful in working through changes that impact professional practice. Strategies for navigating change are offered in Chapter 5 with the aim of developing a reflective, flexible, resilient, and hopeful stance toward professional practice in the face of change.
Envisioning professional practice. Envisioning new pathways for professional practice is part of an ongoing process of inquiry and reflection. Self-study can assist visual arts practitioners in envisioning new practices through the interpretation of self-study artefacts that can yield new insights, questions, and lines of flight. Looking more closely at specific areas of practice that are exciting and invigorating as well as at those areas that may feel confusing, stagnant, or uncertain can lead to the cultivation of new insights, questions, paths, and goals. Strategies and methods for interpreting self-study artefacts are discussed in Chapter 6. Strategies for using findings from the interpretation process toward envisioning professional practice are discussed in Chapter 7.
Integrated methods for self-study
Arts-based methods, media, and approaches. Arts-based research, as the application of âartistic approaches to qualitative inquiryâ (Wang et al. 2017: 7), embraces the role and identity of the âartist-researcherâ who uses âartistically inspired methods or approachesâ and/or where the ârole of qualitative researcher and artist are fully blendedâ (Wang et al. 2017: 10). We recognize that users of this book may align with one ...
