Donna Frost

xi List of figures Figure 4 . 1 Critical creative collaborative inquiry 87 Figure 4 . 2 Critical creative collaborative inquiry as a process 88 Figure 4 . 3 Over-simplistic representation of the experience-and-reflection cycle 99 Figure 4 . 4 CCCI: Repeating cycles of experience and reflection occurred both in practice and during group meetings 101 Figure 4 . 5 Lemniscate cycles of data generation and co-construction of knowledge within the CCCI meetings (blue) and in clinical practice (red). The purple textbox, in the middle links the two halves of the lemniscate cycle. 104 Figure 4 . 6 Synthesizing my reaction to the data through creative expression 120 Figure 4 . 7 Identifying patterns and grouping ideas 120 Figure 4 . 8 Word picture bringing together data from different inquiry cycles. 121 Figure 5 . 1 The CCCI lemniscate, reproduced from Chapter 4 134 Figure 5 . 2 Jointly created ‘installation’, consisting of paintings, creative materials and association cards, to express our current understandings of professional artistry (RNI-Mtg 9 -Photo 017 ) 139 Figure 5 . 3 Initial understandings of professional artistry, NPI-Mtg 1 -Mulitple photos, edited here to form one image 145 Figure 5 . 4 Examples of the words and phrases used by each NPI member when speaking about their creative expression in relation to professional artistry (NPI-Mtg 1 -Rec 2 of 4 ). 146 Figure 5 . 5 Reproduction of pages 3 b & 4 b from research journal, Donna- RJVol 3 - 20110725 , after RNI-Mtg 1 153 Figure 5 . 6 First page of an English language summary of a CCCI meeting, created by collating information from a variety of Dutch language source material 155 Figure 5 . 7 Energy potential, bounded, perhaps overwhelming 162 Figure 5 . 8 Integrated energy, open, grounded, flowing 163 Figure 5 . 9 Overthinking, flow interrupted, getting tripped up 165 Figure 6 . 1 Painting (NPI- 2015 -photo 023 ) and metaphors generated within both inquiries with respect to the ontological and praxiological nature of professional artistry 179