Donna Frost

Chapter 1 26 of professional artistryhave been explored and tested in several collaborations since then (eg. Titchen & Higgs, 2001 b; Titchen & McGinley, 2003 ; McCormack & Titchen, 2006 ; Titchen, Higgs & Horsfall, 2007 ; Titchen & Kinsella, 2019 ). Most recently, professional artistry has been conceptualised by Titchen ( 2019 ) as two frameworks of ‘professional artistry dimensions of self’ and ‘professional artistry processes’ (p. 50 ). She describes nine different but interconnected dimensions including artistic qualities, use of self, working with different knowledges, multiple discourses, ways of knowing and multiple intelligences, and exercising creative imagination, praxis skills and artistic and cognitive critique. These dimensions are drawn together by eight, often somewhat hidden, processes: synchronicity, attunement, flowing, interplay, energy, balance, synthesis and melding-blending-harmonising. These professional artistry processes: …enable the practitioner, facilitator, leader, educator and researcher to create particularised care and embodied learning experiences, interventions and responses that are right for the patient, service user, colleague, student, team or co-inquirer within the particular context, situation and time, because they create unique configurations (shapes/ patterns) of the dimensions (Titchen, 2019 , p. 52 ). The resulting ‘dance’ is seen to enable praxis, where praxis is seen as intentional, mindful and morally imbued action, or doing (Titchen & Hardy, 2009 ). Furthermore, with praxis comes the potential to contribute to human flourishing for all involved (cf. Heron & Reason, 1997 ; McCormack & Titchen, 2006 ). Although Titchen’s ( 2009 , 2019 ) explication is the most comprehensive to date, she emphasizes, also elsewhere with colleagues (McCormack & Titchen, 2006 ; Titchen et al., 2007 ; Titchen & McMahon, 2013 ; Titchen & Hammond, 2017 ; Titchen, 2019 ; Titchen & Kinsella, 2019 ), that the dimensions and processes, the relationships between the dimensions, and the ways in which the processes work in practice, need further empirical investigation. Additionally, the current conceptualisation has arisen from investigations into the nature of expertise in clinical, research and development practice; professional artistry itself has yet to be the subject of an empirical investigation within nursing. Getting to the essence of nursing practice Although professional artistry itself has not explicitly been studied within nursing, there is a long history in nursing research of inquiries that try to get to the nub of nursing practice, orwhich have looked to uncover themore tacit or hidden aspects of