Last Saturday morning, towards the end of my short visit to Sydney, I hopped on to the train into the city and sauntered cheerily down towards Circular Quay for a matinee performance of The Merry Widow at the Sydney Opera House. It had been a lovely week – one of those weeks that leaves you feeling grateful and with renewed purpose, derived from a combination of spending time with people and communities, including former coachees and those whom I have had the privilege of helping appoint into senior leadership roles. Talking strategy with the team at Chifley People, as they plan their further expansion into regional and international recruitment, was a particular joy. Perhaps the biggest surprise of this visit, though, was how I have suddenly started to see the visible world really differently – in lines, and tones, and shades … and this is as a direct result of staying with an artist and observing her work.

I hadn’t fully appreciated before this week just how much time artists spend really looking, with incredible acuity, at the world at the world around them – and just how infectious that way of seeing can become. It is actually quite difficult to describe exactly what changes – it is not that you suddenly become an artist yourself (even though I believe that each of us has an artist lurking inside us, waiting to be nurtured), nor is it that every view instantly becomes a masterpiece waiting to be painted; rather, you begin to notice things that you would almost certainly have walked past a few days earlier. Instead of seeing just a harbour, beautiful though it is, you notice the shapes that hold it together; instead of simply admiring a magnificent tree, you find yourself tracing its lines with your eyes, and you become aware of the way its branches seem to reach, twist and balance themselves almost effortlessly. Looking – really looking and seeing – becomes a slower activity, and a strangely more satisfying one.

And so it was that as I walked towards the Opera House that morning, and then again as I emerged into the sunshine a few hours later after a wonderfully enjoyable performance – silly, funny, spectacular in every sense – I realised that my attention kept returning to the curves. Obviously there were the great sweeping shells of the Opera House and the tremendous high arch of the Harbour Bridge, but once I had noticed those, I seemed to see them everywhere else as well – in the edge of the harbour itself, in the movement of the ferries across the water, in the branches of the trees, in the contours of the shoreline and even, it seemed to me, in the way people naturally flowed around one another as they crossed the concourse and walked along the quays. There are straight lines there too, of course, particularly in the manmade constructions, from the skyscrapers to the paving slabs, but the closer I looked, these straight lines no longer seemed to dominate the scene.
This thought about curves lingered … once it had planted itself in my head, in fact, it became rather difficult to let go of. Nature, after all, seems remarkably comfortable with curves. Rivers meander, coastlines wave, branches bend, shells spiral, leaves curl and waves roll endlessly onto the shore, never once appearing to worry that they have taken the most efficient straight line route. There is something very unselfconsciously confident about curves – something that that seems to speak of a sense of independence and self, and of growth, adaptation and response to the world around them.

My brain having been tickled with this thought, I found myself smiling at the thought that perhaps we spend rather too much of our own lives trying to straighten everything out. We like career paths that make sense when drawn on paper; we admire plans with neat beginnings, middles and ends; we become slightly irritated when life introduces an unexpected bend that delays us, diverts us or simply takes us somewhere we had never intended to go. Yet, when I look back over my own life, I cannot honestly say that the most important things happened because I followed a particularly straight line. Almost every opportunity that has mattered has arrived through somebody I met unexpectedly, a conversation that was never meant to happen, a disappointment that only much later revealed itself to have been an opportunity in disguise, or a decision that felt rather uncertain at the time but proved, with hindsight, to have been exactly the right one. Looking back, the curves have nearly always been where the interesting bits lay, where the learning happened and where entirely new landscapes popped up into view. They may not always have been the straight route I might have wanted to choose in advance, but I am phenomenally grateful that life provided them for me, and that I followed them.

I wonder whether that is why those curves around Sydney Harbour felt so strangely satisfying to look at. Yes, they are extraordinary achievements of architecture and engineering, but perhaps they also remind us, quietly and almost subconsciously, of something much older than themselves. However remarkable human beings become, we are still responding to patterns that have surrounded us throughout our lives – patterns of growth rather than perfection, of movement rather than rigidity, and of possibilities unfolding, rather than outcomes being predetermined.
I have found myself returning to that thought several times since Saturday. We often talk about wanting a straightforward life, a straightforward career or a straightforward answer, as though straightness were automatically something to aspire to; yet I am no longer entirely convinced that it is. Perhaps living well has rather less to do with following the straightest possible path than with learning to appreciate the curves while we are travelling along them.
There is, I think, rather a lot to be said for living the curvy life … I hope you are blessed with one too.










