THE IMPACT OF RELATIONSHIPS ON CREATIVITY

 

 

The Eight Relational Needs That Shape Our Creativity

From the moment we enter this world, we are already in relationship—with the hands that hold us, the voices we hear, the places we inhabit. To be human is to be relational. And within these connections lies one of our most precious gifts: creativity.

We often think of creativity as belonging to artists, scientists, or innovators. But in truth, creativity is woven into the fabric of everyday life. It is our ability to meet challenges with curiosity, to imagine possibilities, to find flexible solutions with whatever resources we have. Whether or not we experience ourselves as creative, however, depends less on talent and more on the quality of the relationships that shape us.

We Are All Creative

No child is born believing they are not creative. A toddler who breaks open a toy box to make a square block fit is experimenting brilliantly. They do not label their idea “good” or “bad.” They simply try, learn, and adapt.

But over time, those instinctive sparks are filtered through the responses of others. If our attempts are met with encouragement and curiosity, we grow into adults who trust our creative instincts. If they are ignored, judged, or shamed, we may learn to doubt ourselves, hiding our impulses and silencing our imagination.

Creativity, then, is not a privilege of the few. It is a human birthright. What varies is whether the soil of our relationships nurtures or stifles it.

Creativity Grows in Relationships

Psychotherapist Richard Erskine identified eight relational needs that shape our lives. They are not luxuries; they are hungers. We cannot satisfy them alone—they require the presence of another. When these needs are met, we feel safe, valued, and alive. When they are unmet, we adapt in creative but costly ways: hiding, suppressing, or covering up our longings.

Here are the eight needs that influence not only how we relate, but also whether we believe in our own creative power:

  1. Safety. We need to know we will not be harmed or humiliated. Safety gives us the courage to take risks.
  2. Self-definition. We need to express who we are and be met with respect. Without it, our authentic voice goes underground.
  3. Impact. We need to know our presence makes a difference. A child showing a drawing, an adult sharing an idea—all long for resonance.
  4. Validation. Our feelings and experiences must matter. Dismissing them leaves us doubting our own reality.
  5. Mutuality. We need to feel we are not alone—that others share in our joys and struggles.
  6. Initiative. We need others to reach out first sometimes, to show we are remembered and wanted.
  7. Guidance. At times we need someone wiser or stronger to show us the way. Without it, we may feel lost.
  8. Affection. We need to express love and appreciation—and have it received warmly.

Think of a time when one of these needs was not met. Did you stop asking? Stop showing? Did you tell yourself it wasn’t important? Those are creative strategies for survival, but they also carry a cost: the loss of spontaneity and trust in our own creative impulses.

When Creativity Gets Blocked

Some people, hurt by unmet needs, give up on their creativity entirely. They cling to cultural scripts, doing only what is expected, never venturing beyond the norm. Others, often through deep loneliness, protect their creative spark fiercely, using it as a lifeline. Their art, science, or innovation emerges from pain.

Both are relational responses. Both show how deeply our creative lives are tied to the presence—or absence—of attuned relationships.

Reclaiming Creative Potential

The hopeful truth is this: it is never too late. Creativity is not lost—it waits, often quietly, for us to notice it again. Reconnecting with it means practicing attunement: paying attention to our own needs, and to the needs of others. It means loosening the grip of assumptions, cultivating curiosity, and daring to see the world with fresh eyes.

When we build relationships that honor safety, self-expression, impact, validation, mutuality, initiative, guidance, and affection, we do more than meet human needs. We create fertile ground where creativity can flourish—within us, and between us.

A More Creative World

I believe you are a creative person. Not because you paint, or invent, or perform, but because you are human. You have the capacity to find new responses, to imagine alternatives, to shape reality in ways large and small.

Imagine a world where our relationships consistently meet these eight needs. A world where people feel safe to express themselves, confident that their presence matters, free to love and be loved. That world would not only be kinder and more compassionate—it would be infinitely more creative.

BRAINSPOTTING FOR ACTORS, WHAT’S THAT?

 

Brainspotting: Unlocking Creativity for Actors and Creators

Brainspotting, discovered in 2003 by trauma expert David Grand, PhD, is a neuroprocessing technique originally developed for trauma therapy and emotional resolution.

In its expansion model, it becomes a powerful tool for any creator—actors, presenters, athletes, or anyone aiming for focus, flow, clarity, and emotional creativity.

For actors, it offers a unique advantage: actors can use Brainspotting to work with any character.

It helps bring clarity, focus, emotion, memory, and flow to the character. True understanding, however, comes through experience.

How Brainspotting Works

Brainspotting relies on eye position and body sensations. David Grand discovered that where you look affects how you feel.

Try this simple exercise: recall a memory and notice the sensations in your body. Observe how your gaze naturally fixes on a point in space. Moving your eyes changes the intensity of the feeling. That point activates the neural network connected to the memory. Humans do Brainspotting all the time, without realizing it.

Our memories are not stored in boxes. Each experience is linked to multiple neural networks—visual, auditory, locomotor. Remembering reactivates these networks, triggering sensory memory, the foundation actors use to relive past emotions for character work.

Brainspotting reverses this process: by focusing on Character Spots, actors access the character’s sensations in the body, creating sensory memory from the inside out.

The Character Spot

When you focus on the character and locate its sensations in your body, your eyes naturally fixate on a point in space. This is the Character Spot—the “doorway” to the character.

Traditional methods rely on rational thought—analyzing, designing, and describing. Brainspotting bypasses the rational brain, allowing fluid, authentic creation.

Brainspotting is to acting what lasers or X-rays are to surgery.

It reveals the character purely and accurately, both microscopically and holistically.

Actors can explore any aspect of a character—personal history, body, significant people, places, recurring thoughts… the character’s universe opens creatively.

Safety and Emotional Regulation

Brainspotting ensures actor safety:

  • Release tension and deactivate conditioned reflexes

  • Access a calm point to prevent confusion

Actors in constant emotional dysregulation may block or lose creative potential.
Actors with emotional regulation can simulate dysregulated characters creatively, without losing themselves.

The process “stores” the character in the body, allowing access without overwhelming the actor’s personal self.

Presence and Confidence

Brainspotting enhances stage or camera presence and self-confidence. When the character guides you:

  • You do not push the character—it flows naturally

  • The audience perceives authenticity

  • Confidence builds as the need to control decreases

David Grand explains: Brainspotting doesn’t make a bad actor good, but it makes a good actor “better.”

Testimonials

  • “I was amazed—it was not a tool, it was alchemy. The actor’s emotions became the character’s, effortlessly.” – Alicia Merino

  • “Emotions arise naturally, nothing is forced. You flow with the scene.” – Marian Huélamo

  • “Brainspotting gave me incredible depth. Relaxed and confident, I could fully live the character.” – Julio Mascaraque

  • “I felt close to the character I was addressing. That intimacy left less space for me, and I liked it.” – Layla González

  • “I felt free in the scene. No expectations, no pressure.” – Elsa Chaves

  • “A masterclass on Brainspotting was amazing. A new, deeper approach to acting.” – Héctor Jenz

  • “Brainspotting was transformative in creating a character. Effective and inspiring!” – Maty Gómez

 

You’re so good, you’re stupid

We perform a natural response to the environment, as a way of adaptation. When I was a kid, I was generally a “good” boy. I didn’t like picking on others, and I didn’t like being picked on. I didn’t enjoy teasing anyone, nor tricking anyone for my own benefit.

“You’re so good, you’re stupid,” a friend once told me.

My friend wanted to help me “wake up.” To make me see that the world wasn’t the way I thought it was. That trusting so much was foolish.

That definition of me had a huge impact. I felt deeply stupid, honestly. My translation of “stupid” was naivety—gullible, “someone the world will take advantage of if he doesn’t grow up.” I don’t know why I never questioned it. I immediately assumed my friend was right and that I needed to mature: perform better, for a better adaptation to this world.

The hardest part was that no matter how much I tried, I couldn’t perform in any other way than the way others called “good” or “stupid.” My conclusion was that I was condemned to being weak, and I’d just have to manage so it wouldn’t show too much, and so I wouldn’t get fooled too often. I also didn’t want to “act good,” because I wasn’t acting. I was simply trying to be myself. Yet I truly longed for a world where people could be vulnerable and where vulnerability was respected—a world where relationships were affectively trustworthy and safe.

For many years my performance in life implied hosting a weight of insecurity and confusion. The burden of holding this “stupid” definition of me inside, of doubting my longings and my illusion that a more trustworthy world could exist.

So, in my attempt to be smart, I became split inside. I created a new inner voice. And in these inner conversations I used this brand-new voice to tell my confused parts: “You should be sharper, sell yourself more, don’t be so good, be tougher, look out for yourself…” That voice echoed the words of my friend, but this time it was my own voice. Nevertheless, no matter how much I paid attention to this voice, the feelings of being innocent and too small were always there, hidden deep down. If you were normal, you wouldn’t feel this way, said the voice.

Once, tired of my vulnerable self, I tried to engage with a radical change—decided ruthlessly to become a super-empowered, successful version of me. Positive thinking, changing my beliefs—this was supposed to be my gateway to the winners’ world, that higher world where nobody steps on you because you’re the one on top.

But unfortunately, it didn’t work at all—the plane didn’t even take off. I felt overtly ridiculous. And beyond that, I realized instantly that I didn’t want that for myself. For me, there was something false, something contrived, in that misunderstood “release the giant within” attitude.

If I was honest—and I was—I became very aware that I don’t believe in happiness built on strength, tightness, shouting, and pushing.

But maybe my friend was right in one thing… If being “good” meant pleasing others and omitting my own needs, then that wasn’t fair either.

My idea of happiness became the pursuit of something calmer and more connected—something oriented toward doing small, nourishing things for the world. Not in-dependent, nor co-dependent… but inter-dependent.

In the past I thought that not being able to be that **man who goes for everything—shameless, independent, fearless—**was a problem for my survival and my self-esteem. I read countless books on “unleashing the leader within,” on breaking through the barriers of shame, on selling yourself well. But every attempt to build that empowered Self fell flat.

It’s taken me many years to discover there was nothing broken in me. Being slow suits me. Being calm allows me to look past prejudices. Being this kind of “good” doesn’t mean I’m superior or angelic. My translation of “good” is: curious, careful, respectful, loving, conciliatory.

I know I’m a “good person.” Now I can say it without shame, without it meaning arrogance. I’m a “good person” because it’s my choice, and my ethics.

And it has always been my longing: to live in a world where innocence is valued above cunning, competitiveness, greed, or being number one.

Sometimes I worry about how much we mock innocence and naivety.

I must say, I eventually found ways to make use of that innocence. Of course, I learned to handle innocence without being naïve. To flip it around.

Innocence had its upside: people trusted me. Nobody believed I would hurt them—and rightly so. I felt well regarded. And sometimes that only deepened my confusion: Who am I really? Am I good, or am I bad?

My innocence is actually curiosity—the acceptance of uncertainty, of not knowing, and being okay with it, because nobody really knows anything. When I discovered that **innocence was curiosity—about myself, about others, about life—**I finally began to feel at home in myself, and in the world.

Innocence, curiosity… looking at things as if we didn’t know, being present in the face of uncertainty, as if we were seeing things for the first time, is a beautiful way of looking at oneself, at others, and at the world with fewer prejudices.

I find it hard to believe that anything truly new can be created without an innocent, curious gaze. Because to create something new, you need curiosity. And curiosity is innocent in its essence.

“So good, you’re stupid” is a phrase that has lost its power inside. Today, it’s an empty shell. There was a time it carried weight—but it was a weight empty of compassion, empty of love for myself and for this valuable element of life: innocence.

CREATIVITY: A NATURAL PROCESS OF LIVING

 

Creativity as an Innate Quality

Creativity is a natural quality. We are all creative. We are born with this capacity, an internal engine of resources for surviving in our environment.
As children, we are endowed with curiosity, which drives us to explore, and with a predisposition for play as a way to build meaning and better understand reality.

Creativity in Everyday Life

The creative process is always present because we need to find solutions moment by moment in our lives.

  • Solutions we already know we solve automatically, like opening a door.

  • But if the door gets stuck, we invent new strategies.

This act of connecting ideas to create something new is what makes us human. Wolfgang Köhler demonstrated this with his experiments with chimpanzees: when a banana was hung out of reach, the chimps stacked boxes to get it.

What We See and What We Think We See

Life flows in constant transformation. The feeling that things “stay the same” every day is a result of our memory: the brain generalizes to save energy, ignoring details irrelevant to survival.

In reality, everything is changing. Creative blocks begin when we resist what IS.
“I don’t know” simply means I don’t know right now. Accepting that opens the door to exploration, discovery, and creation.

The Balance Between Focus and Stillness

Interacting creatively with the environment requires:

  • Focus: attention directed to something, internal or external.

  • Stillness: presence and observation of what emerges.

Too much focus narrows perception.
Too much stillness lacks energy.
The art is in finding the balance.

The Learned Denial of Creativity

Traditional education guides us toward certainty, linearity, and predictability. In that process, we lose trust in our own perceptions and learn to deny our creativity.

Creating involves risk: making mistakes, being judged, or criticized. Living creatively becomes an act of self-love, honesty, and compassion.

Reconnecting with a Fresh Gaze

When we reconnect with our creative process, we regain the ability to see things without labels. Just as they are.

  • Not as we were taught.

  • Not as we assume.

  • But as they appear here and now.

A simple exercise: observe an object for five minutes. You’ll notice details you hadn’t seen before. The less you look through what you already know, the more new things you’ll see.

Creativity in Work and Life

To innovate professionally, you need a combination of knowledge and absence of prejudice. Deep knowledge of your field allows real novelty to emerge.

In everyday life, creativity is also a resource for solving conflicts. It doesn’t depend on intelligence, but on presence: being still, internally silent, and breathing in what IS.

“Genius is 1% inspiration and 99% perspiration.”
(Thomas Alva Edison)

Obstacles: Fear and Self-Criticism

Fear pushes us away from the new. It makes us react with rigid patterns and seek control.
Self-demand and self-criticism do something similar: they try to guide us but pull us away from creativity.

When these adaptations become rigid, flexibility is lost. The child who stays silent because others laughed at their idea learns to avoid risk. Gradually, we stop trusting our own creativity.

Returning to Flow

Life always presents itself as new. Living creatively means accompanying this flow, building with what emerges within and around us.
Creativity is a verb, a dynamic energy in motion. It is not limited to art or intelligence; above all, it is about the experience of being oneself.