Donna Frost

Chapter 2 48 Klemola and Norros’s ( 2001 ) research demonstrates how particularly effective anaesthetists are able to use the rules and conventions of their profession to ‘explore’ the clinical situation they are faced with, coming to understanding about the most appropriate action for the particular circumstances. Henderson ( 2001 b) likens the theoretical framework of one’s profession to a springboard. Such a framework enables professionals to explore the boundaries, as well as push against them, modify and develop them (Henderson, 2001 a; Henderson and Kesson, 2009 ). Andresen and Fredericks ( 2001 ), Titchen and Higgs ( 2001 a), Titchen et al ( 2007 ) and Austen ( 2010 ) all emphasize the role of professionals who practice with artistry in challenging ‘truths’, and developing the traditions, theories and frameworks of their professions further. Later work (eg. McCormack & Titchen, 2014 ; Titchen, 2018 ) argues and demonstrates that working with professional artistry enables professionals to create new knowledge and ways of understanding or looking at the world, exploding existing boundaries and creating new frameworks. A professional framework is an antecedent of professional artistry as it is only within a professional framework that the actions and being of the professional have meaning. It is also an attribute as use of a professional framework is evident in the practice of professionals demonstrating artistry. Finally, the testing and ongoing development of the professional framework, and the creation and testing of new frameworks, are consequences of professionals practisingwith professional artistry. 4 . Professional artistry is embedded and embodied in the practices of professionals Body wisdom. Flow. Intent, finesse, movement. Wisdom felt, revealed. Professional artistry is consistently described as both manifested by and contained within the action of professionals within their practice situations: it is embodied by the practitioner, embedded in practice and unfolds in the course of action. It is, therefore, non-verbal by nature and often difficult to articulate (Fish, 1998 ), even for those professionals recognised by themselves and others as expert (Titchen, 2009 ). Titchen et al ( 2007 ), when reflecting on the artistry of research practitioners, point out that few name or claim their artistry, even when richly describing their research practices: ‘It is as if this artistry is often the transparent background or mystic veil of our practices, so taken for granted that we do not notice it’ (p. 283 ). Professional artistry, then, often occurs unconsciously (see also McIntosh, 1996 ; Stockhausen,