Creativity as an experience and as a complexity: visual-narrative research of the artworks of Tsipy Amos Goldstein

    Shahar Marnin-Distelfeld   Affiliation


This article focuses on the work Seven Private Skies (initiated in 2009) by the Israeli artist, Tsipy Amos Goldstein. This is a series of large panels on which the artist has been painting and embroidering for fourteen years as her main occupation. The aim of the study was to establish the meanings inherent in the work, which is a kind of multi-layered cryptograph, while characterizing it in terms of creativity. The research method combined visual-interpretive analysis with both a narrative-feminist paradigm and with theories from the field of creativity studies. The findings showed that the series “tells” through artistic means the artist’s personal story in a way that matches two definitions: creativity as an experience and creativity as a complexity. The article will discuss the characteristics of the artist and artwork as an experience and then will present the paradoxes distinguishing the work as complex: 1. Order versus chaos; 2. Love and home in the face of disintegration; 3. Cuts versus connections and male versus female; 4. Understandable communication in the face of conflicting messages; 5. Star of David versus the Jewish yellow badge.

Keyword : complexity, creativity, experience, visual analysis, visual narrative

How to Cite
Marnin-Distelfeld, S. (2023). Creativity as an experience and as a complexity: visual-narrative research of the artworks of Tsipy Amos Goldstein. Creativity Studies, 16(1), 125–144.
Published in Issue
Feb 22, 2023
Abstract Views
PDF Downloads
Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.


Amichai, Y. (2006). Open closed open: Poems. A Harvest Book/Harcourt, Inc.

Bachelard, G. (2020). Hapoetika Shel Hachalal. Bavel.

Brandt, A. (2021). Defining creativity: A view from the arts. Creativity Research Journal, 33(2), 81–95.

Cixous, H. (1976). The laugh of the Medusa. Journal of Women in Culture and Society, 1(4), 875–893.

Corazza, G. E. (2016). Potential originality and effectiveness: The dynamic definition of creativity. Creativity Research Journal, 28(3), 258–267.

Dekel, T. (2013). Gendered: Art and feminist theory. Cambridge Scholars Publishing.

Direktor, R. (2013). Be Ma’agalim Acherim: Outsiderim, autodidactim ve naivim. Haifa Museum of Art.

Glăveanu, V. P., & Beghetto, R. A. (2021). Creative experience: A non-standard definition of creativity. Creativity Research Journal, 33(2), 75–80.

Irigaray, L. (1977). Ce sexe qui n’en est pas un. Les Éditions de Minuit.

Jaudon, V., & Kozloff, J. (1978). Art hysterical notions of progress and culture. Heresies, 4, 38–42.

Kristeva, J. (1980). Desire in language: A semiotic approach to literature and art. L. S. Roudiez (Ed.). Columbia University Press.

Lambert, Ph. A. (2020). The order–chaos dynamic of creativity. Creativity Research Journal, 32(4), 431–446.

Mannay, D. (2016). Visual, narrative and creative research methods: Application, reflection and ethics. Routledge.

Marnin-Distelfeld, Sh. (2021). Embroidered memory: The artwork of Miri Abramson, a second-generation holocaust survivor. Woman’s Art Journal, 42(2), 33–42.

Marnin-Distelfeld, Sh. (2022). “In the liveliest place, my mother’s bosom, there was death” – Mother–daughter relationships in the work of Rachel Nemesh, Second-generation Holocaust survivor. Holocaust Studies: A Journal of Culture and History, 28(1), 20–47.

Mishory, A. (2000). Shuru Habitu Ureu: Ikonot Usmalim Chazutim Zionim Batarbut Haysraelit. Am Oved.

Norton, D., Heath, D., & Ventura, D. (2013). Finding creativity in an artificial artist. Journal of Creative Behavior, 47(2), 106–124.

Orbach, N. (2020). The Good Enough Studio: Art Therapy through the Prism of Space, Matter and Action. Self-Publication of Nona Orbach.

Rose, G. (2016). Visual methodologies: An introduction to researching with visual materials. SAGE.

Runco, M. A., & Jaeger, G. J. (2012). The standard definition of creativity. Creativity Research Journal, 24(1), 92–96.

Shlasky, S., & Alpert, B. (2006). Drachim Bektivat Mechkar Narrativi Meperuk Hametziut Lehavnayata Ketext. Mofet.

Simonton, D. K. (2018). Defining creativity: Don’t we also need to define what is Not creative? Journal of Creative Behavior, 52(1), 80–90.

Smith, J. K., & Smith, L. F. (2017). The 1.5 criterion model of creativity: Where less is more, more or less. Journal of Creative Behavior, 51(4), 281–284.

Spector-Mersel, G. (2010). Megisha Narrativit Leparadigma Narrativit. In R. Tuval-Mashiach & G. Spector-Mersel (Eds.), Mechkar Narrativi: Teoriya, Yetzira Veparshanut (pp. 45–80). Mofet/Magnes.

Zelermeier, M. (2010). Al Mechkar Narrativi, Al Feminism Vealma Shebeynehem. In Tuval- R. Mashiach & G. Spector-Mersel (Eds.), Mechkar Narrativi: Teoriya, Yetzira Veparshanut (pp. 106–132). Mofet/Magnes.