ON INTENTIONS

What does it mean for work to have been inspired by a particular source? Is this referring only to the 'visual impact'? Our world has become so fundamentally visual with digital photography being so accessible, and so readily photoshopped, propagated and promoted, that we seem to forget about considering its impact on us. What are we neglecting? The question about influence remains to be pondered; is it more that looking alike? Should it be?

Michael Reynolds.

We have had earthships enthusiastically promoted worldwide by Michael Reynolds – see: https://voussoirs.blogspot.com/2012/03/earthships-and-bananas.html - with interest being stimulated sufficiently to have others take up the concept and build their own earthships, but none, or should one say very few, of these homes have the intelligent, inventive, inspirational charm and integrity of the originals, even though they conform with everything an earthship might claim to be. In spite of this, it is an obvious statement to say that these places built by others were ‘inspired’ by these originals, despite their lacking something when compared to them. What is being referred to? Is it that the process is the same; or the concept; the approach; the ambition; maybe the intention; or the visuals, even if in part?

Earthship.

In this anniversary year of Antonio Gaudi - the Gaudi Year commemorates the 100th anniversary of Antoni Gaudí's passing (June 10, 1926) – we are seeing a revival of interest in Gaudi’s role in history, a matter that is being concentrated in our minds by the completion of the towers of Sagrada Familia in Barcelona. It has to be emphasised that the building is NOT being completed this year, in spite of the suggestions in the media. The question lingers: is Gaudi merely a lone, weird, anomaly in the architectural world, or has he been a significant influence? In parallel with this publicity, there is a revived discussion on parametricism – see: https://voussoirs.blogspot.com/2026/05/parametric-parameters.html. Inevitably the two come together, with Gaudi’s work being claimed as the beginning of this new, twenty-first century style – see: https://www.dezeen.com/2026/06/17/gaudi-centenary-impact/. The idea is that Gaudi has been a significant inspiration in modern architecture; not merely a personal quirk of history, but a whimsical poet in form who has encouraged others to do likewise.

Gaudi.

Saarinen.

Gehry.

Hadid.

Calatrava.

Senosiain.

EMBT.

Along with this proposition, we get, as if by way of proof, the idea of the development of this notion of influence or inspiration that is said to continue on as an historical thread through the work of Saarinen, Gehry, Hadid, Calatrava, Javier Senosiain, and EMBT Architects. Benedetta Tagliabue, the principal of the latter firm explains that:

she particularly admires Gaudí's experimentation, use of physical models, collaboration with artisans and obsessive pursuit of making designs a reality, while also sharing with him a "common aim" in seeking to evoke nature with curving architectural forms.

"These are very beautiful ideas that I will try to maintain in our studio," she said. "So yes, we are influenced by Gaudí, because we have the same desires. But we try with all our best not to copy Gaudí, because copying Gaudí is really something very difficult and extremely dangerous."

What is this influence, this inspiration? Is it a matter of visuals alone, with curves ‘evoking nature,’ while trying not to copy Gaudi’s forms, but to get close to the same appearance in some manner of self-conscious shaping? One suspects that this following, this influence, is expected to be more than merely replication, or should be, but how might one have the 'same desires' that drove the initial shaping and making? Some issues are identified by Tagliabue: experimentation; use of models; obsessive pursuit of making designs; seeking to evoke nature, as if it is seen to be necessary to schedule the characteristics of the circumstance; or is this merely a matter of perhaps labelling the necessary steps to achieve or structure this 'desire' - as if there might be a book of rules, or a demand to justify the strategy that gives a similar appearance.

Gaudi.

The matter is complex because the enthusiasm for another’s work frequently means attempts to capture the same sensed wholeness, the experienced wonderment that ends up merely as bland similitude alone - it looks like a . . . – a replication that is justified by the itemised, apparently identical 'desires' - well, some similar traits, in order, so it appears, to overcome the claim of plagiarism or being a copy cat. Corbusier’s chapel at Ronchamp has become one such revered icon, inspiring many who churn out attempts at ‘not copied’ lookalikes that demean and mock the original, and themselves, be this as a chapel, a home, a truck stop (see: https://voussoirs.blogspot.com/2015/06/ronchamp-rest-areas-and-meaning.html), or a pump house. Even with the very best intentions and respect, the end result becomes an insult that demeans the original with the cartoon reference.

Notre-Dame du Haut, Ronchamp.

A scheduling of the various elements that form the basis of respect and enthusiasm for another’s work might begin the rationalisation of the inspiration, but what is missing is the wholeness, that raw necessity in idea and belief that lies in the flesh and blood, and relates to it. Rationalisation establishes a barrier defined in its limitations that establish a platform for action removed from the emotive subtleties being sourced.

The situation has occurred with earthships, in spite of the manuals and guidelines, which makes one ponder this historical link that seems to want to be drawn between Gaudi and today’s styling. It is simply a mockery and misinterpretation of Gaudi’s work to link it to, for example, Gehry’s ‘crumpled brown paper bag’ building and others formed ‘fluidly’ on the basis of an inspirational scribble or an ‘interesting’ AI invention, in spite of any perceived correspondence in the 'wacky' visuals. The same can be said about Hadid’s morphed work, where forms are dredged up from what could be seen as computer games; mere happenstance. What appears to be ignored is the native intent. The similarity that allows the association to be suggested, seems to rely on the ‘different’ looks, the unusual appearance, and the analysed perception of these quirky forms that appear as mysteriously ‘strange’ as Gaudi’s work – hence the proposition.

EMBT.

Sydney Opera House.

In one way, the Sydney Opera House has a stronger connection to Gaudi’s work than the examples that claim to be parametric. The opera house is rooted in the rigour of spherical geometry, just as Gaudi’s work is grounded in funicular geometry. Utzon’s shells are defined by the example of the cutting of the orange in the same way as Gaudi’s forms are the outcome of weighted strings: but there is more: Gaudi’s work is also intertwined with Gaudi’s life and belief, his culture and contentment. It seems to be a very schematic notion to claim influence in part only, or on the basis of visual or a descriptive similarity alone when there is a wholeness that is experienced, appreciated, and desired. Does the claim simply become that “I am just like . . . in a particular way” alone? Where does intention lie in this matter? Is it critical or an irrelevant aside? Does one merely ignore personal matters, arguing that these are ‘unscientific’ – unreliable; too intimate? How does Gaudi’s strict Catholicism fit into this work? Can it be ignored?

Earthship.

Looking at earthships, the subtleties of intention and personal involvement can be seen to be critical. The original works have been truly handmade, much in the style of Gaudi’s process, (yet one would never claim that they were ‘inspired’ by Gaudi’s work), where thought, care, attention, and invention are brought to every act, ad hoc as it were, resulting in a set of surprises that gel to become the earthship. The intimacy of influence – it is terrible to think of Gaudi as ‘an influencer’ when we have today’s self-centred, promotional hoo-ha connotation – is always at least one step away from the grounds of these sensitive beginnings that might inspire others to seek to reveal what is really only an aspect of this experience, rather than delving into the inner nature of things, origins – situations, materials, possibilities - establishing a starting point that will always give lesser outcomes because of the neglect of the very matter that influences – a vital inner necessity (Kandinsky, Concerning the Spiritual in Art); a certain, essential integrity.

Earthship.

We need to try to understand the relationship between intentions and forms; the link between meaningful personal matters and actions. If we seek to be inspired or influenced by another, we need to look beyond form and process into matters far more ephemeral and significant, because otherwise we will only be dealing in visual matters or rational interpretations that will always be a matter of catch-up.

Earthship.

This is a personal and emotive subject that our era pushes aside with its excitement and interest in AI that becomes a huge distraction that keeps suggesting to us that we are involved in something meaningful, when all we are doing is creating an emotional void, a disconnect between feeling and form in the origins of form, irrespective of how we might intellectualise our inspiration. We need to try to understand how intentions matter.

Mercury.

Malek.

Another way to ponder the matter of intentions is to consider portrayals. The acclaimed re-enactment of Freddie Mercury’s Live Aid performance in 1985 by Rami Malek in the biographical film, Bohemian Rhapsody, a role for which he received an Academy Award for best Actor, allows one to consider inspirational sources and activities. While this 21 minute set in the movie has been played side by side with the original clip, such is its perfection, there remains a significant difference in intent that lies at the heart of matters referenced or inspired. It is how we manage this ephemeral difference that makes the difference. We might itemise the steps, the singing, the dancing, the gestures, etc., all to achieve a similarity, but Malek is not Mercury – he just appears to be. The importance here is the appearance, not the origins of this energy and enthusiasm for the event, and, one might add, the personal situation Mercury had become aware of. Architecture has stepped away from this emotional world and its relevance in action, being happy to deal with appearances alone, perhaps because it is too difficult to incorporate such subtlety in our lives, preferring to rationalise matters for a less challenging consumption – yet this significance is relevant.

Mercury.

Malek.

The Zen world seeks to touch on this field of intrigue in a variety of enigmatic ways, realising that getting close to these things destroys them, noting that: If you find the Buddha on the way, kill him. Yet we struggle on with rationalisations. It is this puzzle that lies as the challenge in Tagliabue’s inspiration/influence in spite of the fact that she particularly admires Gaudí's experimentation, use of physical models, collaboration with artisans and obsessive pursuit of making designs a reality, while also sharing with him a "common aim" in seeking to evoke nature with curving architectural forms.

Gaudi.

Tagliabue.

Le Corbusier: Ronchamp.

Irrespective of the enthusiasm of the 'same desire,' and the deep love for the work that inspires, matters personal remain relevant. With Gaudi it was his belief - in the service of the divine. Eric Biétry-Rivierre, in Antoni Gaudí, Modern Architecture’s Master of Synthesis and Glory, notes:

This modern architect in the service of the divine, mocked by both the avant-garde and the classical establishment, devoted all his energy to the Sagrada Família. 

https://www.lefigaro.fr/en/antoni-gaudi-modern-architecture-s-master-of-synthesis-and-glory-20260620.

We need more than ‘look-alikes’ if we are to be ‘inspired’ by Gaudi.

Our obsession with appearances leaves out so much of the subtlety of the whole. One could liken the easy availability of a demeanor to the durability of stone and the problems associated with this situation noted in the following quote from The First Inventors:

At the very bottom of the oldest archaeological site in Australia, we also find evocative pieces of cultural evidence; ochre crayons, finely worn into a recognisable nub. These speak to the rich inner worlds of their makers. It seems that art – long thought to be a relatively recent invention – was, in fact, part of the earliest societies to make Australia home.

The difficulty of reading into the deep past is that the evidence is uneven. Most of what matters to a culture or society will not survive hundreds, let alone thousands, of years. Relationships, desires and aspirations; tears, tenderness and joy; warmth, love and laughter; these have no archaeological trace. The challenge is not to conflate what has been left behind (ie., stone) with what was once considered to be important. This is the trap western scientists fell into when they dismissed Indigenous societies as ‘stone-age’ peoples, a classification that simply proves the tautology that durable things are durable, not that human lives revolved around stones. In fact, like elsewhere in the world, most technologies were made from fibres: nets, ropes, housing, clothing, fish traps. No peoples should be understood, or defined, by the longest lasting elements of their refuse. Instead, as novelist Rachel Kushner reflects, ‘We must learn to leave room for the rest, for the vast and vanished world of which durable traces form only a tiny part.’

Billy Griffiths, Larissa Behrendt and Sean Ulm, The First Inventors, Allen & Unwin, Australia, 2026, p.23/24.

There is an embodied complexity; see – https://voussoirs.blogspot.com/2021/08/design-as-dreaming-hunt-not-hunting.html. Perhaps one can sum up the situation with the familiar adage: Never judge a book by its cover. The problem with inspiration as appearance alone is made clear in this article: https://www.designboom.com/design/antoni-gaudi-architecture-way-schiaparelli-haute-couture-daniel-roseberry/. Might one assume that Gaudi would not be amused by this indulgence? The void is a great as that referred to in this extract:

The richness of these narratives – and their topographic specificity – eludes easy description or explication. There is a remarkable map, drawn up by anthropologist Norman Tindale, but developed by Kaiadilt knowledge holders, which gives us a sense of the density of narrative on even a small place like Berntinck Island. Every inlet, every reef, every crest is known, named and storied. Yet even this finely wrought map flattens into ink the embodied understandings of these places. It fails to capture the layers of meanings, affiliations, rights and responsibilities attached to these land and sea estates. The feelings of home, the depth of ancestral connection, the obligations of care. Perhaps the closest any outsider can come to understanding the sensuous wonder of these places, and their irresistible pull to those responsible for them, is through fine artworks, such as the immense painting in the ton Island Art Centre, which has been created on and about Country.

Billy Griffiths, Larissa Behrendt and Sean Ulm, The First Inventors, Allen & Unwin, 2026, p.113/114.

The accessible appearance, 'the refuse,' is simply 'ink' on the page that is easily fudged and smudged. There is always far more than appearance. Consider the text on the Torres Strait double outrigger canoes:

In their colourful splendour the canoes look alive, and indeed, to those who craft and use them, they are sentient beings, imbued with spiritual meaning and capable of independent thought. They are ritually 'woken up' before a voyage, and how they are treated, and made, can influence the safety of a sea journey.

Billy Griffiths, Larissa Behrendt and Sean Ulm, The First Inventors, Allen & Unwin, 2026, p.133/134.#

Actions, with their intentions, have origins and consequences.

It is the job of the artist to order his inspiration in such a way as to reveal form or essence.

 . . .

Beauty is both the revelation of essence and the actual determination of the thing itself.

Jonathon Miles, Eric Gill & David Jones at Capel-Y-Ffin, Seren Books, Wales, 1992, p.39

AI Overview

Antoni Gaudí, widely known as God’s Architect, dedicated his life to creating architecture that functioned as "a Bible in stone". Viewing nature as God's manuscript, he translated biological and geometric shapes into soaring, spiritual structures. His deep faith and profound designs recently led the Vatican to declare him Venerable in April 2025.

Inspired by Gaudi - God's Architect . . . ?

Are the body profiles inspired by the moulded ceiling forms?

Is the roof the idea for the hair styling?

Are the breasts inspired by the balconies; the fabric pattern, the tiling? *

Is this the inspiration for the model's legs?

Body form and architecture?

#

P.S.

Note on book design: why did the photographic inserts in the centre of this book not get positioned two pages earlier to be before Chapter 8, Kin, instead of being tucked in after the first page of this chapter? Is book production now all fully automated? Did anyone check the proofs?

*

One is reminded of a Ronnie Barker sketch where he is seen making suggestive gestures with his hands in front of his chest in an attempt to describe his conversation as he stumbles over his words: "The lady with the b-b-b-big b-b-b-bay windows."

12 July 2026

NOTE

See: https://parametric-architecture.com/paris-haute-couture-fall-2026/

Does haute couture know no boundaries other than that defined by bespoke, eye-catching display? These dramatic performances that use appearances removed from their original meanings, while seeking to glean some ad hoc recognition of substance in 'creativity,' highlight the serious problem with being bold, brave and a bit quirky - much more is needed: see – https://voussoirs.blogspot.com/2026/07/bold-brave-and-bit-quirky.html.

BOLD BRAVE and a bit QUIRKY

It was at our regular curry lunch that the subject came up: Paul Fairweather had written a book. A shrug of the shoulder was the response when one asked about the subject matter. “Oh, it is a bit of everything,” was the reply. “Would you like to read it?” – and the book was handed to me without further comment: Paul Fairweather’s book, Bold Brave and a bit Quirky, published by AndAlso Books, Brisbane, 2025.

Paul had been an architectural student of ours many years ago. It would be interesting to see what had inspired him to write a book. One is always a little wary of those who want to publish something, because there is the worry that this choice might be merely a response to the cliché that says everyone has ‘a book’ in them, without specifying what – just a publication, a book, which is generally presumed to be a novel or perhaps a memoir. Instead of taking off a few months and sitting at the local coffee shop waiting for inspiration - as one friend actually did, and still there is no novel – one might hope that the need to write might come first, and then the book might appear as a matter of course, as an organic necessity, rather than vice versa, with the thought of creating a book being the outcome of something more essential than the hackneyed perception suggests. The fear was that Fairweather’s book might be of the latter cliché ilk, and have more to do with self-promotion/expression than essential communication. Was it self-published?# It appears not to be. The only other book that has been read by this publisher was the one on Lloyd Rees and the Architects – see: https://voussoirs.blogspot.com/2025/12/lloyd-rees-and-architects.html. The blurb described the publisher as: based in Brisbane (Australia); Specialising in creative writing and history from our home state of Queensland – and also art, design, and music culture/history; (Member of the Independent Publishers Network Australia). The publisher appeared to be a local, ‘artistic’ enthusiast.

The Fairweather book was opened on the tram on the way home, and perused. It had more of a notebook or diary format than a novel or a researched tome, anecdotal, using a bits’n’pieces theme, selected recollections, with a format of one illustration per one or two pages of text – a thought for each day as it were - with each piece of writing telling something about life, creativity, and experience. One is reminded of the daily devotional and ‘creative’ books that are available.^ It seemed to be a chatty publication. In one way, the book can be seen as biographical, perhaps confessional, but it is not a biography or an apologia. Fairweather sees it as his latent, ‘creative,’ story-telling urge coming to the fore. Is he now at a stage of his life where reflection on the past becomes an important anchor, a framework into which one can confirm achievement? ‘A bit quirky’ seemed to sum things up; and one supposed that the author had to be ‘bold and brave’ to publish what really just looked like random reminiscences presented as schematic narratives and interesting yarns, episodic tales from his life’s experience, highlighting its hopes, visions, and lessons, with each story accompanied by one of Fairweather’s watercolour renderings.

These watercolour illustrations all have a lovely ‘Whatman’ looseness about them, with washes generally blotching nicely over the textured surface to give the desired expressions as impressions. From the dates on each drawing, these renderings all seem to have been prepared within a few months for this 2025 publication. Fairweather has a knack of being able to catch a likeness which is impressive, but sometimes the washes seem to get overworked, smudged just too much, or left uncertain, muddled, muddied in their indefinite articulation that asks the eye for forgiveness while demanding tolerance. He tells how he was shortlisted one year for the Archibald prize – an impressive feat for anyone. These illustrations usually relate to the text in some way, and sometimes they do not - there seems to be no rules, just creative inspiration - but they are interesting in their own way, even though some seem more schematic than others, where the fuzzy watercolour technique might not have been the best medium for the expression of the subject. Still, the approach gives some cohesion to what is really an ad hoc collection of lived bits and pieces Fairweather considers to be his little ‘gems’ in life: pieces of string too short to save, and, one assumes, too long to throw out, is the nice analogy.

There is a lovely thread, (no string pun intended), that runs through these subjects in this same vein, (oops, not intended), highlighting how ordinary, apparently insignificant things in life can become memorable and important as events and moral lessons. Sadly, the book also promotes another matter: a rational, considered approach to creativity. Fairweather apparently runs sessions on this subject as a public speaker, and workshops as a tutor/facilitator that seem to take their motto from the title of one of the worst books I have ever read, with the theme: You Too Can Be An Artist. The book - oh, how the memory grinds and insults good work and clear, honest intentions with its crassness – spells out an endless variety of different - dare one say quirky? - techniques that can be used to make one ‘creative,’ an artist. This is the older version of what we now see in video clips online, where, for example, viewers are shown how containers of paint can be dribbled over a canvas – (canvases are what artists use) – and flipped, dragged, and maybe spun to give interesting ‘artistic’ patterns to create a ‘modern’ painting – (one video was in the ‘news’ just today: https://m.youtube.com/watch?v=XBdtJBMExoA); or sometimes the containers themselves are shrewdly transformed into an arresting ‘sculpture’; or again, in another format, one is tutored in How to paint more traditionally in shows like those of the late Bob Ross. As the title suggests, one is encouraged to be BOLD BRAVE and a bit QUIRKY if one is to become an artist, or, in other words, to be ‘creative.’ This is a sad state of affairs that turns art into a tricky game of chance technique – doing odd things, never knowing when a work of art might materialise. Art is much more than this flippancy and spin encouraged by intellectual analysis. One must remember the Zen message: if you find the Buddha on the way, kill him.

Then there are the other stories that Fairweather seems to think are important: those where he has interfaced with celebrity, or come close to this. OK, he did well with the Archibald, but wanting to include his interactions with, say, Robin Williams, or talking about his role as an extra in a TV show, or as a TED presenter, seems to have something to do with his searching for status or significance – maybe meaning, importance, recognition? Perhaps this book really is a ‘time of life’ matter, a reminiscence? Fairweather has even included photographs at the end of the book that show him in a variety of quirky circumstances: me as a child actor; me with . . . ; me doing . . . , etc. This reminds one of the monthly PR pamphlet one gets from the local MP that includes an excess photographs of the MP here, there, and everywhere, with X, and near Y, doing A, and presenting something to B, etc.

BOLD BRAVE and a bit QUIRKY is a publication that can be both liked and disliked; admired and scorned: ‘fair weather or foul?’ comes to mind. One might have hoped that an editor could have taken the idea proposed and shaped it into a little gem that included an array of those truly important things, rather than leaving the collection as a random mix of bits and pieces, a shambles of stories, some long, some short, but with many that did need to be thrown out or revised rather than published. What did the editor do? If this revision had happened, the book could have become a classic. In the form in which it has been published, the book remains an ordinary whimsical, collection of local memories that read too personally to be truly meaningful, too indulgent to be universal, even if there are things that ‘stick,’ as Fairweather notes. It is difficult to make claims for a successful outcome on the basis of one aspect of a work alone. As it is, the book remains more of a curiosity than anything else. It would have been marvellous if everything in the book had touched something of the string quality without the drooling ‘creative’ narratives – whatever this string quality is, and however ‘meaningless’ these subtleties might appear. Little things in life are important and touch and shape most of our lives in some way or another. If the story is important, why might it not have been a beautifully written biography rather than the crazy patchwork that it is?

Sadly, encouraging folk to be bold, brave and a bit quirky might give ‘interesting’ outcomes, and may indeed be a part of the ‘creative’ process, but inspiration is more than cheeky chance, with skill and thought being involved too – and much more than this that cannot to be told. Ananda Coomaraswamy noted the traditional position that the artist was not a special kind of man, but that every person was a special kind of artist, but this did not mean that everyone jumped up and began being a bold, brave, and a bit quirky in a random fashion, hoping to crack a work of art. Indeed, Coomaraswamy emphasised how art was never personal expression, noting how this individual ambition was a mere sad perversion. Art has more meaning and necessity than this fanciful act, as Lloyd Rees noted; it cannot be spoken about, but it can be recognised and respected; nurtured.

There was a recent report concerning the statement that one frequently hears with modern abstract art: “Oh, I could have painted that.” The author noted that his response is always, “Then why didn’t you?” Perhaps the person may not have been sufficiently bold, brave, or a bit quirky, but there is more than this: simple, quiet necessity – that same quality that demands that a book be published. Alas, this publication remains a tangled set of bits’n’pieces that mean something to Fairweather: some interesting; some indulgent; some misguided; interspersed with some memorable gems. It could have been much better than what its lingering nostalgia offers with the ‘me, my creative life, and my family’ theme that complicates, smudges its intentions as it tries to squeeze in everything, with the nice excuse of being inspired by the box of tangled string, a conceptual pun which rationalises the strategy that needs more, because a jumble of short pieces of string alone will join nothing together.

16 July 26

Bad art is not unskilful- it is a skill contaminated, deprived of its proper object by folly.

Jonathon Miles, Eric Gill & David Jones at Capel-Y-Ffin, Seren Books, Wales, 1992, p.42.

P.S.

Oh! https://www.amazon.com.au/Bald-Brave-bit-QUIRKY-misadventures/dp/0645788805 - After a quick search, one finds that the book, (or a book with much the same title), has been published previously by Paul Fairweather,# (no longer available on Amazon), as Bald, Brave, Bold and a bit Quirky A memoir of creative misadventures, 2023 – 176 pages: (c.f. 183 pages in the 2025 ed.). ‘Speaker’ Fairweather is ‘punny’ as the new publication reveals. Why has this previous publication, (with a slightly different ISBN-13: 978-0-6-457888-0-8), not been mentioned in what appears to be the 2025 edition (ISBN-13: 978-0-6-457888-9-1)? Is the Bald version now an embarrassment?

Then one discovers that the Fairweather shop - https://www.paulfairweather.com/store-1 - is selling merchandise: a $30 tea towel printed with the No.8 S.E.E.D. Lemonarte-styled watercolour illustration. One can purchase the book and the tea towel package, (why a tea towel?), for $60: creative merchandising. Can we expect pens; water colour sets; t shirts; mugs . . . and the like? Mugs . . . mmm?

The exemplar for the 'paint a lemon' exercise,

to 'squeeze the creative juices out of life'? . . . Oh, goodness me!

The promo headline on the store site is:

Paul (all in different ‘creative kindergarten’ colours) Fairweather The Power of Bold Thinking. Dale Carnegie and Norman Vincent Peale come to mind and change how one sees things.

#

Product details

• Publisher ‏ : ‎ Paul Fairweather

• Publication date ‏ : ‎ 31 August 2023

• Language ‏ : ‎ English

• Print length ‏ : ‎ 176 pages

• ISBN-10 ‏ : ‎ 0645788805

• ISBN-13 ‏ : ‎ 978-0645788808

• Item weight ‏ : ‎ 195 g

• Dimensions ‏ : ‎ 12.7 x 1.04 x 20.32 cm

Associated blurb:

Follow the inspiring and often hilarious journey of one man's transition from a successful architect to visual storyteller. This memoir chronicles Paul Fairweather's life of creative misadventures, where he navigates the challenges of finding his true passion and purpose. With wit and humility, Paul shares his struggles with writing, the importance of titles in art, and the funny quirks that make him who he is. Through it all, Paul reflects on the moments of genius and what it means to pursue ambition. This is a must-read for anyone who has ever dreamed of taking a leap of faith and following their passion.

Given this previous 2023 publication, it is odd that we get this promo on Instagram (from an Internet Google search 24 June 2026):

Instagram – paulfairweather.speaker

10+ likes – 9 months ago

0:27

I'll be releasing my new book, Bold, Brave, and a Bit Quirky, published by And Also Books. It is part memoir, part manifesto. Illustrations, ...

It’s been a journey – and one still in motion. This November, I’ll be releasing my new book, Bold, Brave, and a Bit Quirky, published by And Also Books. It is part memoir, part manifesto – and a physical manifestation of the work I’ve been doing with leaders and teams through my keynote, The Power of Bold Thinking and my workshop, Bold, Brave and Better. Packed with stories, insights, and my own watercolour illustrations, it’s designed to spark the kind of bold thinking that comes from the courage to create and the confidence to connect. Stay tuned for launch details – and an exhibition of the original watercolours. As I scan across these watercolour illustrations, I see the path I’ve travelled: stories collected, moments shared, ideas tested. Each image is a step in the journey that began with my Bold, Brave better workshops and continues on stage in my keynote, The Power of Bold Thinking. I’m eagerly awaiting the proofs – the final step before printing presses roll into motion. Stay tuned for launch details – and an exhibition of original watercolours.

^

The titles of three books seen recently in a bookshop at Ballina, New South Wales:

The Bible in 52 Weeks; 52 Weeks of Creativity; and Creativity: and there were more in the same vein. Fairweather has 58 'stories' in his book squeezing the creative juices out of life.

12 JULY 2026

NOTE

Might this be a companion publication? - see:

https://pages.praxiscenterforaesthetics.com/book-offer/?ref=google-ads-pmax&ref=gads-pmax-&utm_source=google&utm_medium=cpc&utm_campaign=23851344841&utm_term=&utm_content=&cmc_adid=ga__23851344841&gad_source=1&gad_campaignid=23841520986&gbraid=0AAAAADQW-55arzO2WFa0QMBSbmVHTx7We&gclid=CjwKCAjw08fSBhA7EiwAfbQTsMih06iboZSfMYM6eoB5jJfEIARLBwIE43AuXGpi6eMgJslgDhXDnRoCyToQAvD_BwE