In the first ‘Spotlight’ of 2010, I’m talking to renowned artist Helen Masacz.  Helen has had an enviable career with the National Portrait Gallery inviting her to submit work for their exhibitions and is currently painting a portrait of our Lord Mayor!  Helen’s success has resulted from her sheer hard work and determination…and of course, her obvious talent!  Here she shares her thoughts with us…..

Helen, how did your career start and you always wanted to be an artist?
I had a bit of a late start, completed my degree in 2004 and got a painting into the National Portrait Gallery for the BP awards the same year. I always wanted to learn how to paint but the opportunity only presented itself when I started evening life-drawing classes and was encouraged to take it further by my tutor in 2001. I actually applied for a foundation course after I finished my ‘A’-levels way back in 1982 but I didn’t even get an interview as I was an ‘O’-level short, so found a job instead.

Your work centres around the theme of transition and the mark that it and time has on people’s lives. Why does this theme interest you so much?
I suppose my life has been a series of extreme transitions; nothing seems to stay the same for long. I look back at what has been and feel disconnected from the past- it seems so different from what I am doing now, it’s like watching a movie of someone else. I use my daughter in my work and try and register the changes she has gone through as a teenager.

How did it feel to be selected by the National Portrait Gallery to exhibit in the 2004 BP Award and the 2005 Mystery Postcard Exhibition?
The National Portrait Gallery is a great platform to show work, so I was obviously very pleased my work was chosen. The following year I was invited by the gallery to submit an A5-size piece of work to be auctioned off alongside other artists such as Tracy Emin and Marc Quinn. The Right Honourable Valerie Amos bought my piece, a life drawing of a friend.

Was your portrait of Nyanda selected by the gallery or did you decide to put that painting forward?
That year I had painted fourteen portraits for my degree show based on inclusion. I chose Nyanda as I thought her expression emotive. Each artist who applies is allowed one entry per person.

Are your paintings created from imagination or are you influenced by real-life experiences or situations that you’ve witnessed first-hand?
No, my paintings are not from imagination – my experiences and my family’s exposure to social and cultural developments reflect in my work and are sometimes ambiguous to the viewer. Painting from my life’s occurrences validates and documents my experiences; they can be seen as mere suggestions, subtly defining our moment in time.
My paintings are based on thoughts which are influenced by real-life situations, issues of everyday life to long-term influences during our life time, the transition from childhood to adulthood, the changes in relationships over a lifetime and the meaning that the passage of time imprints on all our lives. I think real-life experiences have more impact than imagination, connecting to a greater audience who may relate to the issues of transition.

Many of your paintings seem to capture a pivotal moment in the lives of the subjects Do you aim to provoke a certain reaction or emotion from the viewer with your work?
I would rather leave the viewer to make up their own mind. Each person’s experience is different and I am just providing a trigger point, or not.

You predominantly use oils; why are these your preferred materials for the works you produce?
I think using oils is much easier than say acrylics, which I find difficult to blend with. Oils feel a lot more permanent than water colour and I have more control over oil pigments.

You’ve exhibited in some enviable venues! Is there any advice you can offer to artists who might experience difficulty in getting a foot in those doors?
Circulating your work in galleries is a good position to be in. Before getting to this stage, you could approach the galleries you are interested in via email individually – not with a one-off email sent to all the galleries you can find. Galleries like to know you have done your research, that you think your work will fit in with them and that they are not just on a massive mailing list. Send a clear, concise covering letter, your cv and some examples attached of your work. Visiting the Affordable Art Fair and others for example, is a great way of seeing which galleries are more suited to you. Some galleries do not like being approached in the flesh without an appointment and some galleries prefer you to send slides; to save time it’s best to ring a gallery first and ask them the best way to show them your work. If the gallery are interested in your work after you have sent your details, they will want to see it in the flesh, perhaps visiting you in your studio to see you in your working environment – it’s best to have a current body of work for them to see. There are plenty of guide books on the market to help you; one I read and found useful was: The Artists’ Survival Manual: A Complete Guide To Marketing Your Work.

How did your current project (portrait of Boris Johnson) come about?
I contacted Mayor Boris Johnson and he was happy to sit for me.  I am not sure what will happen with the painting as yet, but would like it to hang at the National Portrait Gallery.

Somebody once said their success was due to 10% inspiration and 90% perspiration; what would you say is your ratio?
That sounds pretty much about right. I suppose if luck comes into it, your work still has to stand up on its own merit.

What should we be looking forward to from you in the future?
At the moment I am working on commissions as well as preparing and researching on exploring the human condition within my own work. In the New Year I will be exhibiting my Boris Johnson portrait – venue yet unknown – and working on that one.

I’d like to thank Helen for her generous time, for sharing her experiences and  for her fantastic advice!  For more of her amazing work, including the ‘Nyanda’ portrait displayed in the National Portrait Gallery, visit her website:

http://www.helenmasacz.com/

This week’s ‘Spotlight’ is focused on illustrator and artist, Mike Bishop. Mike started his artistic career as a successful illustrator before journeying on to explore his personal art. Here, he offers his advice, shares his inspirations and gives us an insight into his chequered career!

How did your life as an artist begin and was it always something you wanted to do?
My Mum was quite artistic and she encouraged me to draw and paint with my two brothers at an early age..mainly eachother, literally.  At school I liked art because the teacher seemed a bit more friendly and normal than the other teachers so I took ‘O’ and ‘A’-levels in art. I did a foundation course at Farnham, Surrey for a year and then in 1977 went to Brighton Polytechnic (now university) to do a BA Hons in Graphic Design, specialising in illustration. I did have two years hiatus after the first year when I left to play in a band in London. However, our failure to become overnight jazz-fusion superstars – mainly because of the punk explosion – meant that this was short-lived and I was very happy when the college let me resume my studies, going on to get a 2.1 .

You have worked as an illustrator; how was your experience of working in this field and what advice could you offer to other artists considering this path?
Illustration is a good job but it tends to be stylistically changeable and cyclical, especially in the editorial and
advertising sectors. Art directors are always looking for fresh styles and there are always new students coming through. It also depends on the economy; I had a good run in the 1980’s and managed to get a good agent in London (Folio) which was a great help. Book illustration seems a bit more stable and though generally not as well paid as advertising work, may have greater longevity. My advice would be try to have an original style but be prepared to adapt and develop as the art director calls the shots.

You have worked for some impressive clients; how do you cope with artistic deadlines?  Do you find you thrive under pressure or is it sometimes stressful?

I don’t mind deadlines; they’re often easier to handle than no deadlines at all. You always seem to get the work done even if it’s just by the skin of your teeth…even if the cat has just walked over the finished painting and you have to re-do it while the courier is waiting!

What has been your favourite illustrative piece that you’ve created and why?
My favourite commission was a poster for London underground. It was a very open brief, the subject being Soho at  night. I did two paintings and gave the art director the choice. Luckily he went for my favourite. It was great to travel round London for a time and see it printed larger than life.

Your other site focuses on your paintings.  When did you decide to explore this side of your work and why?
I lived in New York from 1990 to 1995 and it was there that I veered more towards painting. By this time I was getting a bit jaded as an illustrator and wanted to concentrate on my own work without the restraints of a brief. Being in a new environment is artistically stimulating and I loved the vibrancy of the city. I spent a lot of time just roaming around absorbing the sights.

You use oil and acrylic on canvas; why does this medium suit you and you used others?
I used to do a lot of colour pencil illustration but it went out of style. For my paintings, I like now to use a combination of acrylic and oil. I often use acrylic as the under coat as it dries fast and then finish off with oils as they tend to have better colours.

Are your paintings based on places you have visited or are some from your imagination?
The scenes I paint are essentially real places but I like to refine and stylize them so they end up looking slightly surreal and unusual.

Any artists who inspire you to paint the way you do?
Some of the artists I admire are David Inshaw, Michael Andrews, Edward Hopper, John Singer Sargant;  most of the old masters and especially the Russian Itinerants.

Do you paint from memory, from sketchbook or do you paint on site?
For the bigger, more detailed paintings I use sketches and photos which I sometimes grid up to scale on the canvas. I also enjoy painting outside directly onto board or canvas using acrylics (again, as they dry quicker) with no  preliminary drawing at all. This makes a refreshing change from the more complicated pieces. Memory must come into it too, I suppose

.

You have some very interesting sky/cloud details in your paintings, especially the ‘Suburban Myths’ series!  The colours are very vivid; does the sky hold a particular appeal to you when you paint?
Yes, the vibrant sky in these paintings acts as a counterpoint to the often dark melancholic scene below.   Also there’s the hint that the clouds may not be all that they seem. In one painting I used a photo of an explosion as cloud reference and the aeroplane vapour trails add to this mystery; has a bomb just been dropped on an ostensibly peaceful English suburban scene? This adds to the slight sense of unease and, I hope, illuminates the fragile nature of a seemingly safe environment.

Do you aim to provoke a certain response or reaction from your audience with your painting or do you strive to keep ‘meaning’ ambiguous in your work?
I like ambiguity and the fact that people are free to find their own story in each picture. Everyone looks at things slightly differently and each response will be unque. One person thought that the reflection of a boat I had painted looked like a shark. It hadn’t occurred to me until they pointed it out!  Once a painting is finished it takes on it’s own personality.

How important is exhibiting to you and do you feel it’s essential for an artist to ‘get out there’ as well as having a website?
I like to exhibit although it’s not essential. Working towards a show can help structure your time and gives you something tangible to work towards.  You can also work on a series or theme and it can help to concentrate your thoughts. Also they can be self-educational; when I used to show at Francis Kyle Gallery, he would often have themed shows which would involve some research and travel to India or Russia, for example. Having a website is a good way of selling your work and getting it seen by a large number of people. You sometimes get intetesting emails from people all over the world.

How long does it take you to create a work from start to finish?
It depends on size, detail of finish, how complicated the subect matter is and again if there is a deadline.  Oh, and laziness!  A deadline will always speed things up. Generally the big detailed paintings take about a month.  If I’m working outsisde I like to finish in one session of about two hours.

What has been the high point of your career as an artist/illustrator?
Getting a first commision is always a thrill for an illustrator. Mine was when I was still at college for a book  about the Russian Revolution. I had to do a painting of Lenin talking to his troops from a train. I used my Dad as a model for Lenin. It ended up just looking like a my Dad with a false moustache on!  Later on, going to the newsagent to buy a magazine with your illustration in was a lot of fun. As far as painting goes, for me really the high point is always anticipating and starting the next one.

What is next in the pipeline for you?  Any new directions or exhibitions coming up?
At the moment I’m working on a series of horse paintings and continuing with the ‘Suburban Myth’ series.  I hope to show at the newly-refurbished Highgate Contemporary Art Gallery in London next year and possibly the Florence Biennale in 2011.

I’d like to thank Mike for his time and his contribution to ‘Spotlight’.  You can see more of his work at both his sites;

http://www.mikebishopillustration.com/

http://www.mbishopart.com/

In this week’s ‘Spotlight’, I’m talking acryllics, aspirations and all things Parisienne with talented and successful artist, Melissa Sturgeon.  Melissa’s work has already had me counting out my coppers to try and get the funds together to buy one of her evocative, alluring and whimsical French cafe scenes.  Her art literally tempts you to visit and frequent the subjects she paints….and one would and can happily get lost in them!

It is evident from your work that you are inspired by street scenes and buildings!  How long have you been painting these settings and what aspects of a building or street draw you in to the point where you want to paint it?
I started developing a love of painting buildings and street themes when I was studying illustration at Falmouth School of Art back in the mid 90’s.  As part of the course we were encouraged to develop our own work with one of our part-time tutors (who happens to be a very well-known Cornish painter called Rob Jones). I developed lots of sketchbook work based on the town, looking at details such as the architecture, bunting and tiny windows tucked into the eves of crooked rooftops.  It was the first time I remember really enjoying my craft and exploring what mad me tick. I was looking at everything differently and realised I had up until then been blind to everything around me. The aspect that draws me in is the feeling you get about the subject, of how it invites your senses and you want to find out more, beyond the walls and doorways.  You get a sense of mystery, of another time perhaps and wonder about how much life has taken place where you are standing. People often find they question what is happening beyond the doorways in the shadows, discovering the stories that might be unfolding.

Do you paint from memory, photograph, sketches you’ve done previously or at the scene itself?
When I travel, time is of a premium (unfortunately), so as well as a sketchbook I always have a camera with me. It is incredibly handy, especially when time is a big factor.

Mostly what I find I do is to sit somewhere, either at a café table, on the curb perhaps and just spend time watching the world around me, absorbing everything, using all the senses. You cannot bottle the atmosphere; it isn’t something that is tangible, you can only convey a feel for a place from your memories, from your own experiences, and try your best to translate that in your work.

There are a lot of Parisienne cafes and shops in your art; what is it about Paris that you love so much?
Where do I begin? Whenever I am in Montmartre I have this weird sense of belonging; perhaps I was a dancer at the Moulin Rouge in a previous life, who knows!!!  In all seriousness, every time I get out of the Metro at Abbesses and take the short walk up the hill to the Sacre Coeur, I feel like I’ve come home. I’m entranced by it’s beauty, it’s sense of history, how it still feels set apart from the rest of Paris as it used to be a hundred years ago.  It’s as popular to artists now as it was then, for all the same reasons: it’s rare that such a small area could be so inspirational to so many.
I was last there in December ’08, and spent hours under the canopy of a small piano bar drinking mulled wine and listening to Edith Piaf, as the rain was falling. It was late evening before I had to bring myself to leave.  The wild horses had to drag me away, else I would no doubt still be there!!

What feelings or reactions do you hope to arouse in people who view your paintings?  Do you aim for a certain reaction and if not, are you ever surprised by reactions that you get?
I would like to inspire in others the same feelings and arouse the same senses. I would like to invite the viewer to join me in those experiences. Many of my paintings have a very subtle idea of a narrative unfolding, using figures in my paintings to allow the viewer to connect with them and be a part of the storytelling.
What I love the most is hearing people talk about the honeymoons, the holidays, where they met and fell in love, even being born in the same streets as those I have painted and stirring up memories and moments in time for others – I find that sort of thing the most rewarding of all.

I love Paris and looking at some particular paintings made me want to either go back there or buy the painting!  Do people who buy your art tend to have visited the locations that you paint or do the paintings conjure up such lovely images that they have to buy them, regardless of whether they’ve been near there or not?
It’s true that many people who have bought my paintings have been to these places, re-iterating what we were talking about before; many have wanted to keep their happy memories alive. But that is not always the case; a lovely reporter for the Oxford Times who was reviewing an exhibition of mine singled out a particular painting. She described how she longed to sit at the yellow and white check table, to drink a cup of coffee with an absinthe chaser and to watch the world go by. I loved that so much, and it’s probably no surprise she later bought the painting.

Do you look for new locations to paint or do you only paint locations you’ve stumbled across which have touched you in some way?
I essentially paint places I stumble across, and don’t set myself any missions to find them; they seem to find me if I’m honest!!

You work with acrylic; why is this your preferred method and have you worked with other methods?  What made you choose acrylic?
Acrylics are a fabulous medium to use for so many reasons.  I used to use watercolours many moons ago – at school I guess – but was using them too thickly and consequently spent a lot of money on paint. Then I tried oils which I couldn’t get to grips with at all; smelly, took forever to dry – hated it! With Acrylics you have all the benefits of water-based paint with no nasty smells. You can use them thinly like a watercolour, or very thick like oils.  I use system three and I would never go back; the strength of colours is brilliant. My new best friend is the impasto gel from that range.  It helps to create layering effects, giving a great sense of depth. I couldn’t live without them now.

You used to work for a publishers but left because of the strict briefs which you felt stifled your creativity; what advice would you offer to artists starting out who may be taking work where they have to meet the requests of others rather than explore their own creativity with total freedom?  Is it a good thing to do for a period of time anyway?
I did briefly work as an illustrator, but I wasn’t fulfilled at all. I knew it wasn’t for me and it showed. However there is no harm in trying out many facets of the art world even if they merely help you to decide that’s not for you. For many, illustrating is the perfect combination; you love drawing and painting but you like the guidance and direction of others. But it wasn’t for me!

How is your career coping with the current economic climate?  Do you feel that artists are being badly affected by the credit crunch or have you not noticed much difference?
I actually haven’t noticed a big difference actually.  Art and the love of art is as vital to our world as needing a car or a refrigerator. I hope!!!!

Do you exhibit?  How important is getting your work out there as an artist?  Do you feel the need to get into the public domain or do you only use your website for that?
I do exhibit yes; you need to gain wider audiences and to build up your network.  Private views are a great way for people to meet the artist behind the work. It’s also great for meeting other like-minded people but I appreciate it can be a scary business too.

What is in the pipeline for you at the moment? Any new projects or paintings on the way?
I’m working on a series of smaller paintings at the minute all about the fun fair, incorporating lots of colour, light and movement.  It’s something a little bit different and I will see where they lead me!

What has been the high point of your career so far?
Hard question really, it’s all been good so far. It’s all a journey of self-discovery, much like life.

Any general advice you can offer to artists who may be starting out on their road?
Always be honest with yourself and others – your work will benefit from this.  Don’t try too hard; you don’t need to make a profound statement to impress people.  Remember what Hopper said, your work must reflect you, you are the work!!  Above all stick with it, and don’t ever lose heart.

I would like to thank Melissa for her time and her thoughts…..you can get a better insight into her work on her website:

http://www.melissajsturgeon-artworks.co.uk/

In this edition of ‘Spotlight’, I’m talking to Wendy Massey, a successful member of The Artist’s Web whose career has included teaching in a young offender’s institute and producing children’s personalised art.   Wendy seems to have achieved the balance that many artists are striving to find; loving the work they do whilst earning enough from it to make a living!  I spoke to Wendy about her career shift, confidence issues and the enjoyment of craft fairs!

How long have you been creating both your art for children and your acrylic paintings?
The children’s side of it has probably been since the beginning of this year but the other art about 2-3 years.  I have another job on the side which is as a teacher but I only teach a max of about 8 hours a week. I don’t teach a lot of hours.  I teach crafts and literacy which is actually a good balance!

How do you manage to fine-tune the balance between your fitting in your day-job and your art?
It’s not easy!  It does focus you in a way because for example the teaching I know has got to be done and also the orders for children’s art that customers put in have got to be done so I’ve got that framework to work with and that motivates me quite a lot.  It’s also nice to do something different!  It’s easy to get bogged down doing the same old thing all the time so the change is nice – although fitting both in is a balancing act!

How did the children’s art develop from your original paintings?
What really pushed me into it was being made redundant!  That certainly made me jump!  I was teaching in a young
offender’s institute in a teaching managament role and that role was swept away with a re-structure. That was a huge leap for me primarily because it was a well-paid job.  I’ve gone from a good salary to being a starving artist!  I’d been thinking about the children’s art for quite some time and I just decided that with being offered redundancy, this was the time to do it.  So although it was a choice it was a little bit of a shove as well.  It’s something that I’ve always thought about because my life has always been quite child-orientated; I’ve got four children of my own and two grandchildren and they take up quite a big chunk of my time.  So I’m very aware of what things people do buy for children and the gift aspect of it.  I also think my style lends itself to children’s art anyway; it’s bright and colourful.

What sort of feedback to you get from people who buy your work?
I do a lot of art & craft fairs and also school fairs and I love watching people’s faces as they’re walking past and don’t know they’re being watched!  I like the reactions; usually people smile and I get a lot of good feedback there at the actual event.  People will say what they really like.  Getting feedback later is really nice as well; people will telephone or email once the event is over to tell me how much they like the art and how the child is enjoying it so that’s all good!  Feedback is really important for developing your work because people’s responses will trigger ideas that you haven’t yet thought of.

How important do you feel it is as an artist to ‘get out there’ and not just rely on your website?
It’s very important!  The main thing for me, as I’ve touched on, is the feedback; you need to know what’s working and what’s not.  The website is great but meeting people face-to-face, getting the responses first-hand and immediately is really helpful.  Another big bonus of ‘getting out there’ is having a break from working by yourself!  Again, it’s getting that balance right.  Sometimes I feel I’m doing too many fairs and not enough art production so getting the balance so that you’re happy with it takes some time.

You started your art career with many paintings of the seaside!  I can guess that you love it?
Oh, yes, I do love the seaside!  I find that I do paint what I’m inspired by – that’s natural.  I’ve not yet been able to live by the sea but maybe one day!

How do you get them done?
I do take photographs of anything I see that inspires me.  I’ll always simplify any photographs I take as I like my paintings to be quite simple. I do sketches as well; if I’m sitting on a beach, I’ll always have my sketch-book with me!  There’s a bit of imagination thrown in there as well. I don’t paint on site though!  I think that’s partly down to a lack of confidence to be honest.  I’m not always happy with all the stages of my paintings so I’d prefer not to do that in public.

There seems to be a lot of escapism in your art; is that intentional?
Oh, that’s absolutely important in my work! I’m not quite sure why I do it but I think it’s simply that we have to deal with so much heavy stuff day-to-day that it’s almost a release for me.  It’s an antidote to stress.  I absolutely love to put a smile on people’s faces!

Why do you choose acrylics?
I’ve tried more or less everything else!  I like acrylics because they’re so immediate; you can produce and finish your art quite quickly with them.  I’m quite impatient, especially when I’ve got an idea so I want to get it down, done and finished.  Even if the first draft isn’t perfect I like to get it done then I can always go back and improve on it later. If you’re not quite sure on the colour you can paint over it with no problem.  I don’t like the smell and the ’slowness’ of oils!  Although I’ve done a fair few watercolours but I feel that the colours themselves aren’t as bright.

Can you offer any advice to artists who may be wanting to start selling their art?
Yes!  I mentioned having a lack of confidence in getting out there and painting in front of people.  I think a lack in confidence can really hold you back.  There’s a book I read a while ago called ‘Feel The Fear And Do It Anyway’ (author Susan Jeffers) and the best piece of advice from that was to just get out there, drop your fear and do it.  Also, don’t let other people do all your selling, especially in the first few months.  I think it’s really important to do it yourself, not

only in terms of it helping shape the direction you want to go in but in terms of your confidence levels.  Doing it yourself boosts your confidence no end!  Hearing people say that they like what you do – you’re the artist, you should be hearing it!  Another thing that’s really helped me with regards to selling my art is doing my online blog (http://www.1stuniquegifts.co.uk/blog/).   Promoting my work through the blog has been absolutely great and it’s really popular.

What’s next in the pipeline?
I’m definitely going to continue with the children’s art.  I’m interested in getting into designing and creating things for kitchens; some of the things I’ve been making have been bought by people for their kitchens, even though that’s not what I intended them for originally!  So producing something along the lines of wall clocks and so on would be great.  I’m thinking also about doing some prints of my work and personalising those prints by hand with names, dates and so on because I think that gives you a bit of a wider scope for selling. And it’s got to be commercial for me because this is my business!

I’d like to thank Wendy for kindly giving up her time and talking to me about her lovely art and life as an artist.  You can have a look for yourself at Wendy’s beautiful creations on her main art site and the site for her children’s art and gifts; http://www.1stuniquegifts.co.uk/

http://www.wendymassey.co.uk/

This week the spotlight is on Tai Snaith, a Melbourne-based artist who’s exhibited and performed all over the world from remote Scotland to ultra-modern Japan. She has worked with a variety of diverse media from pen to broccoli and performed in venues varying from gallery openings to being squashed behind a telephone box on the Royal Mile, Edinburgh. She is known in the arts community for organising collaborative and funded works and for her regular slot speaking on Tripple R radio program in Melbourne.

I caught up with her in Tokyo on her third visit to Japan; she’d just been to a flea market and picked up an antique Japanese doll for next to nothing.

What led you to become an artist?

I recall a conversation with my mum when I was small where she asked me what I’d like to be when I grew up. My reply was, “I guess I’ll just be an artist, what else can I be?”.  But after a little thought I asked her “can a girl be the Prime Minister?”. So I concluded “either that or an artist”.

You have an ongoing performance collaboration with Narinda Reeders called ‘Hit And Miss’.  Is there a recurrent theme in these performances?

By pure coincidence we both turned up to a party dressed the same – roller skates, red and white. We did know each other but we weren’t particularly close friends at the time, however we both concluded we should try the same thing next weekend. So next weekend we went to a friend’s gig dressed in suits. Because we were dressed up people expected us to perform, so we started hitting an egg on the dance floor with a stick.  And so it continued.

We found we didn’t like performing though – we can’t act and we just burst into giggles, so we decided to be still.  So for pretty much every installation our bodies were presented as dead objects. There’s a movement known as tableaux vivant (still life).  Before photography, wealthy people would pay people to reenact a painting, motionless, like “the last supper” etc. We started looking into it, but found that holding a pose for more than one hour is really hard. We realised we had been meditating in these positions, because we were breathing and relaxing and started to discuss what we were thinking about. This really brought us together and was really personal.

In terms of theme, we try to keep it playful – as we have nothing to lose but we like it to be a challenge at the sametime, hence the name ‘Hit And Miss’.  We think to admit failure isn’t such a bad thing, it’s an inherent part of creativity. We’re constantly embarrassing ourselves in front of people on purpose – it’s really therapeutic and very different to our own individual work.

What kind of reaction do you get?

I think the best reaction has to be the one we witnessed at the Royal Mile, Edinburgh. We were wedged between two phone boxes, our faces pressed against each other for an hour. One little girl came up with her dad and the following conversation ensued!

Girl: “What are they doing”

Dad: “They’re wedged behind the phone box”

Girl: “Why are they doing that?”

Dad: “Guess it’s probably art, darling”

Girl:“Yes but why are they doing that?”

Dad: “Well I think just because they can”

Girl: “Coool!”

During another performance where we had to be completely still, we had one kid was shouting at us “move! – stupid girls, come on MOVE!!!”.  It was really hard not to laugh.  One person kissed us; quite hard not to react and stay there.
(You can see more about ‘Hit And Miss’ on their website here: http://www.hitandmiss.me )

Are many of your performances/projects funded or commissioned?

Not usually. I might get an invitation but it will be along the lines of “can you come and do something at an opening – material costs covered”.

However I have been funded for working with groups of people and collaborations.  For example, “New Ruins” was a funded exhibition in old jail – it paid for six Glasgow artists to come to Melbourne and six artists from Melbourne itself.  The show was open for free to public;  it was only open at night and was pitch black so all the visitors were given a torch!

Another example of funded collaborative work was when I approached a private collectors group to sponsor an ‘art in houses’ project.

The group would pool their resources and periodically commission or purchase a single new work.  However, we wanted  funding to pair up several artists with home owners and get them to produce some work especially for those houses, which would then be open to the public for viewing. I came up with the suggestion that we use about 70% of the budget to fund the artists material costs and then the private collection would be able to choose one of the artists to commission a new work for which they would receive the remaining 30% of the budget [good business thinking Tai!]. The group loved the idea and it was a great success for all involved.  For my own work I was recipient of Australia’s Runway grant. This funded me to go to Berlin to do some work in “new media”, but all I did was give a talk about my work which doesn’t really have anything to do with new media!

What advice would you have for aspiring performance artists?

Don’t worry about what people think; do what you want to do without worrying about what the audience makes of it.  Inevitably some people will love it and some hate it.  It’s key that you get what you want out of it.  As long as you don’t rely on it to make you money it really doesn’t matter what people think.

Who’s your favourite performance artist

Daniel Freakly – The Quote Generator; he only speaks in quotes and is travelling the world at the moment

You also create some equally entertaining drawings and illustrations. First up, tell us about your Hirrafes!

I guess I started drawing them out of a subconscious  love of horses and giraffes. Giraffes have an ugly face and horses have a thick ugly neck, so one day I drew a ‘Hiraffe’.  A whole range of charactars have evolved.  In fact there was a period where all I drew were Hiraffes!

They don’t have bodies. There have been suggestions that I draw other similar animals, e.g. Gronky; half-donkey, half-giraffe, a Girony; half-giraffe, half-pony – but this sounded too much like a meat product.

Amongst your collages, The Madonna/Chiwawa made me laugh my arse off.   In fact I think it’s the first image that comes to mind when I think of your work. With your collage is there any deliberate message, or are you just having fun as you make them?

The Chiwawa happened by accident.  I was cutting off the ears of  a chiwawa (not a real one!) and the head off a madonna for something else and they both were on the same table at the same time.  Then I realised what a perfect match they were!  I love collage; it’s one of my favourite things – it gives you so much freedom.  You work with these bits and they come together and make their own story; it’s like you’re a channeler.

Do you sell your work or have any of your drawing works been published?

I’ve had some of my illustrations published;

Maiden Voyage – book of illustrations, came out last month
Herding Kites – book of poetry and drawings (review)
Artichoke (my favourite review of a great performance by Post)
Curvy magazine – Annual book of female illustrations round the world

What’s next for Tai Snaith?

Thinking about having kids – and travel!

Generally I just strive to keep extending my boundaries and challenging myself rather than just staying happy.  It makes you feel alive.  I like feeling a bit nervous about things. I’d love to be able to achieve bigger things on a bigger scale, not just creating for the sake of creating, to use those skills to do something bigger.

Recently I’ve become aware of the importance of being creative and adding something critical; to work out what you are trying to express and communicate it in language;  “why have I drawn this picture?”.  To this end I spent ten hours the other day, without leaving my apartment, thinking about why I was obsessed with this particular plastic greyhound (that I was considering using for some work).  It really made me think about what’s on the inside of me,; like meditation,v it’s a way to give you time to think.

Thank you tai! you can get in touch with tai through her website www.taisnaith.com

In this week’s interview, we’re talking pop-art with a successful artist specialising in this unique genre.  Hans has experienced great success with his work and with love of all-things-retro very much ‘in the now’, his art is encompassing a wider audience than ever before.   It’s not just for comic books!

As a self-taught artist, when did you decide you wanted to create art for a living?
Ever since I could remember I’ve always been creating in one form or another,  from Etch-A-Sketch to painting on cereal boxes.  I’ve always known that I wanted to try and paint for a living.

What is it that you so love about the 1950’s-style art and have you always specialised in this?
I started out painting with different styles; abstract, surrealism and graffiti and then got pulled towards my love of pop art .  My goal now is to try and bridge pop art with a urban art vibe.  I love the 1950`s for its style, elegance and glamour, as well as the birth of modern living and pop thinking.

Where do you find inspiration for your art and how  difficult is it to translate modern-day inspirations into a 1950’s theme?
An idea can pop into my head while indulging in my love of pulp fiction, strange unusual comics, watching old films or going to galleries. What inspires me the most is seeing other artists’ work;  inspiration is something I never have a problem with.  I try to capture the brutal coldness of fast modern day living and soften it with a 50`s theme.

What about your audience?  Are they of a certain age and how do they respond to your work?
My audience is very mixed now!  Bringing  in the urban arts element to my work opens my portfolio of paintings to a younger market.  In general I’ve found that pop art appeals to the young and old and people from different social backgrounds.  People are surprised how good my paintings are in the flesh – I love receiving emails telling me this!

Tell us about any illustrations you’ve done; do you prefer working to the deadlines of somebody else or to your own? Is it one or two images that you have to create, or lots?
My illustrations are taking a back burner now; I used to work to tight deadlines working with numerous multi-layer imagery at once resulting in single creations.  I do work better with a little bit of pressure.

How easy have you found it to publicise your work?  Any methods that have worked particularly well for you?
That’s the biggest obstacle for me – trying to bring attention to my work!  Exhibiting work is probably the best and  most instant way to bring attention to anyone’s work.   Going to a gallery and having a chat with the owner really helps to spread the word  and start letting people know you’re out there.

The black and white images are very striking against the primary colours paintings in your gallery.  How long do your paintings take to finish?
Black and white neutralizes then softens the painting which brings a whole new aura to the finished piece. One of my paintings can take anywhere from 7 hours to 3 days to create,  depending on the scale and complex nature of the painting.  When Ive been experimenting I’ve had paintings take up to 2 months to complete.

How are you finding working as an artist in the current financial climate? Has your work been affected?
I don’t think anyone has escaped the current financial situation.    I had to adjust my prices with the economic downturn.  Pricing is something you have to get right but on the whole I’ve not seen too much of a change in my sales.

What advice could you give to an artist specialising in a very specific style of art with regards to getting themselves noticed?
Try to be original and different from the rest;  it will in time get you noticed.  All genres of art are competitive but with belief and hard work you`ll get there.  Stay  positive!

What’s your favourite aspect of your job?
Standing in front of a blank canvas and creating something from my own hands; there’s great satisfaction in seeing something you’ve painted come to life   Also, seeing someones reaction to a painting is a big joy for me.

What’s next in the pipeline for you? Any new projects or plans on the horizon?
I have an Anglo-French partnership in place which is going to allow me to exhibit in Sao Paulo, Brazil and also an invitation to work with an award-winning art collective in Merseyside.  Then within the next coming months I am back exhibiting in Belgium.

We would like to thank Hans for his time and his pictures!  To further explore his unique and often thought-provoking work, take a look at his website; http://www.studiohans.com/

In this week’s Spotlight, I’ve been invited to the home of all things silver, precious and beautiful.  Brass Monkeys was launched 18 months ago as a shop/workshop in Hove, the brainchild of Sam Maund and Jenifer Wall, following the impressive (albeit freezing) success of their former workshops in St John’s Road.  They packed up with 6 of their fellow silversmiths and are experiencing the joys of owning their own shop, creating new window displays and above all….being warm. 

 

 

 

 

How did you both meet?

Jen – We met 8 or 9 years ago; Sam had just graduated and I had space in my workshop and was looking for someone to share it. 

Sam – She just met me and thought ‘oh, she’ll do!’

How long has Brass Monkeys been going?

Sam – This one (the shop) has been going for 18 months.  Prior to this we ran the Brass Monkeys mixed media workshop for about 6 years  and took on 12 other artists. The place was freezing cold, hence the name! We’d wear hot water bottles under about 5 layers of clothing!  It was literally like working outdoors.

What are the benefits of working in a group environment?

Jen – Sharing information and body heat!

Sam – Financially it’s almost impossible to find a place just for 2 people.  I think when we were looking for a new workshop we were getting along really well and liked the thought of it being just the two of us working together but then we realised it would be better to sublet a much bigger place. Working with other artists means you help eachother out more and support each other.  When I first worked with Jen she made me do a trade fair! I hadn’t done one till then.  Sometimes you need others to push you as well as motivating yourself.

Jen – We give eachother emotional support as well as financial – we all struggle with what we do sometimes and all have our off days. Also when you see others working hard around you it motivates you to work harder yourself!

How successful do you feel you’ve been in your careers so far?

Jen – if the Brass Monkeys workshop hadn’t been successful we wouldn’t have been able to open this shop. Before we did so, we made sure we’d built up a good solid basis of clients and galleries and felt established in our own careers.

 

Sam – It’s a difficult field to work in – I don’t think many people in this line of work are what you’d call rich! Finding time to do just your craft to make a living is hard.  

Jen – Time restraints can be more than frustrating.  As an artist, you have to do everything, from building up your clients and  advertising your work to all the paperwork that’s involved as well as actually making your jewellery.  I think a lot of artists go into this field thinking they’ll just be able to spend their days making nice jewellery or doing some painting – you don’t realise when you to into it just how much is involved! It’s such an awful lot to do. We’re always planning the next shop window display and always have a wish list of what we’d like to get done and new work we’d like to have in the shop.

How has the current economic downturn affected you?

Sam – We don’t know! The shop’s still so new it’s difficult to tell although we’ve been up every month so far.

Jen – I actually think the economic climate has worked in our favour. People tend to be far more choosy now about what they buy and would rather go now to buy something handmade rather than from the high street. Craft is very good value for money; it’s special, unique and will last a great deal longer than the mass-produced jewellery in the high street stores.

Sam – We’ve worked hard to ensure that our work is accessible to everyone.  That’s partly due to our location now in the shop; because we’re further out of town than before, we need to make sure we don’t raise the prices too high.  We’re careful to get work into the shop that starts at around £12 - it may not be a precious metal but it will still be a lovely piece that’s totally unique. 

Jen – People still want to buy lovely jewellery and items for birthday presents and so on, but whereas before they may have spent £50 they might now only be able to afford £30 and we have to make sure our prices cater for them as well as still providing lovely things they’ll want to buy.

Do you personally wear the pieces you make?

Sam – Oh yes!

Jen – We wear our own and other people’s work too; it’s a good way to promote the shop.  People often ask where you got a necklace or bracelet so it’s good to wear a variety of what we have in the shop.

Sam – You also find that if you’re creating jewellery you need to wear it to see how it feels and lasts.  Does it catch on clothing and that sort of thing. Whenever we go out for the evening we have to think about which pieces to wear this time - we have to suffer!

Are you competitive with eachother?

Jen & Sam – NO!

Sam – Well, we can be but only in a jokey way. If you go to a retail show you want the other person to be as successful as you are.

Jen – It’s much harder if the other doesn’t sell. You can feel really bad! If you do badly but the other has a successful day, you just feel really pleased for them. Also if one of you is evidently doing badly during a trade fair, it could be a bad sign for the success of that fair and obviously you want it to do well if you’re taking part in it! It could be an indication that the industry itself is doing badly and that isn’t good. 

 How important is it to ‘get out there’ and do trade fairs?

Jen – It’s really important. With jewellery people like to see the pieces and see a jeweller’s whole body of work; it’s very personal. With certain other pieces or paintings you can buy online quite happily but obviously it’s best to actually try the jewellery on! 

Also a lot of our customers are in the older age bracket and don’t use the internet. If we didn’t get out there we’d be isolating ourselves and them.

Sam – We also love it! It’s great to go to new places and it gets you out of your routine.  We’ve done a few in places we’ve never been to and it’s as well as being about selling your work, there is an element of ‘oh, we haven’t been there!’.

How long does it take you to complete a piece from start to finish?

Sam – It really varies!  You can work on several items at a time.  I think some items like earrings can take about half an hour…

Jen – Yes, those sort of things are quick which is good because they also sell quickly and you need pieces like that to regularly top up your income..but then I make lockets which can take hours and hours.  Again the time management comes into it.  I used to do the usual artist thing of having a job to support my jewellery work.  I started to cut those hours down and think about how I could start to make the jewellery work on its own.

Sam – You’ll find that one piece will sell really well in two galleries but not in another.   It varies so much that it’s hard to predict.

What’s next in the pipeline for you both?

Sam – The shop is still so new that this is our ongoing project at the moment.  There are improvements to the workshop that need to be done.  We’re really pleased with the way it’s developed and what we’ve achieved but there’s still a lot to do!

Jen – We’re always planning new window displays.  When you have different customers coming in every day and are using different artists you need to rotate the work to keep it fresh.  It’s exciting when new customers come in because you never know what they’re going to like or want.  The shop has evolved and changed and we still have a list of the work we want to have in here so it’s all exciting.  It’s a lot of work but the workshop’s  great atmosphere to be in.

Sam – We’re very lucky to be able to be paid for doing what we love!

 

I’d like to thank Jenifer and Sam for their time and allowing me to have a good nosey around their beautiful shop.  Go visit them in Portland Road, Hove and check out their website ( http://www.brassmonkeys.org.uk/ ) – and take your credit card when you pop in for a visit otherwise you’ll regret it.

In this week’s ‘Spotlight’, we are exploring clay, themes of conformity and the ‘buzz’ of the creative process with Roger Whitaker, one of our very popular artists and a ground-breaking and award-winning sculptor.  Roger’s work is certainly different to the ‘classical’ forms of sculpture so many of us may be used to, yet it is still beautifully created and draws the viewer in to an ‘edgier’ form of sculpting.

Your sculptures are striking and certainly thought-provoking; when did you start to develop your style and what influenced you to go down the harsher road of sculpture in terms of theme?

I used to create life-size papier mache sculptures, but it reached a point where I couldn’t create the work quickly enough to keep up with my ideas and the size made the work difficult to both display and store. It was also apparent that my ideas for more ambitious compositions would not be possible at the size at which I was working. At this point I had started on a teacher training course at Brighton University and this was a great opportunity to access a ceramics studio. I used those facilities as often as possible, absorbing as much information as I could from the technician and other ceramics specialists.

A few months later, with a job at a city school in Nottingham, I began the first of my clay sculptures. At this point my themes were based on ideas from inner city and school life. The figures were aggressive characters; this made the rough, unglazed surface of fired clay ideal.  The artists who were most influential for me were Scottish painters who had emerged in the 80’s such as Peter Howson and Steven Campbell. My ambition was to create a sculptural equivalent to their large canvases.

What situations inspire you to create a piece – do you witness an event that triggers a desire to recreate it in sculpture?  Do the figures come naturally in your imagination or are they capturing a real-life event that you’ve seen/experienced?

My ideas come from many different sources. Time in schools has a big influence on my work, triggering memories from my own school days, or just giving me a view into a mini-world; sometimes busy or overcrowded, other times just visually striking.  The aspect of working in clay that I most enjoy is being able to make the separate parts of a sculpture, before I make any final decisions on composition and positioning. This makes the creating process much more fluid and open to change and improvement as I go along. It also means that I see alternative ideas as I try out compositions and can photograph these and come back to make them at a later date. Many pieces of my work develop from others; while I am creating a sculpture I come across so many alternative ideas that only a fraction of them can get made.

Many of your pieces feature suited men in ties (such as ‘Overflow’, ‘Box Living’ and ‘Emerging’).  Did you ever work in the corporate world?

I haven’t ever worked in the corporate world; the work isn’t intended to be specifically about that. The suits and ties perform two roles in my work. They represent a life of conformity that is easy to fall into. They also provide a simple and fairly time proof way of dressing the figures. It’s an idea I adapted from looking at Steven Campbell’s paintings.

Have you ever received feedback or a reaction that’s surprised you?

People are often surprised that my work is clay. I hear lots of suggestions that it’s wood or even cast iron. It’s hard for me to imagine it being made from anything else! I enjoy hearing other peoples interpretations of my work; often people find it thought-provoking and I’m happy for them to find new stories and meanings in it.

What is your favourite sculpture you’ve created and why?

I’ve had many favourites along the way and for many reasons. Sometimes it’s because of the ambition of a piece, such as ‘Indoctrination’. It was so big I had to cut it in half to fit the kiln measurements, sadly forgetting to check the door size of the room I’d made it in! I knocked a leg off as I carried it through. Probably favourite now would be my series of long prison-style wallpieces. It’s been a really powerful vehicle for showing different ideas, but still has lots of room for development. It helps too when you feel that your work is being recognised. The first of these pieces won the Maynell Fenton Prize at the Discerning Eye Exhibition, and they have continued to be particularly popular in terms of sales and feedback.

How long does it take you to create a sculpture from idea conception to the finished product?

It’s too hard to quantify, it varies so much. Some small pieces can just fall into place in a couple of days. Others need reworking and adapting over months.

You’ve exhibited a lot; how important do you feel it is to physically get your artwork out into the public arena when there is so much emphasis on the internet and online market nowadays?

With sculpture, it is essential that people see the actual piece. A photo can never do the work justice. This is particularly true of the more complex compositions, as there are so many different viewpoints. Even for me, seeing the work every day, I can still find a new angle or expression that keeps the work fresh. I could never get that experience from a photograph.

Do you have any advice for artists who may be starting down the road of showcasing their work?  Any tips for getting into galleries/maximising your exposure?

It seems that the most successful artists are the ones who put a big effort into their marketing. Having a website isn’t enough – you need to get the exposure too. For me though, that’s not where my motivation comes from; with a job and young family finding time for promoting my work is difficult. I suppose that if I’m to become more successful for now, it will have to be on my own terms.

What is the best/most enjoyable aspect of your work?

I love the making process, at so many stages. When your head starts to buzz with ideas, so fast that you can’t record them quickly enough and can’t sleep for the desire to start making them, through to the moment you sit back and decide the work is finished. Then, finally putting the work up for the first time at home or in a gallery.

And the part you could quite happily do without?!

As I’ve mentioned, photographing my work to do it justice is a difficult job, but my other least favourite task that can take up a lot of my making time, is trying to get my work into exhibitions.

The Artists Web would like to thank Roger for his time, contribution and fascinating work!  Check out his website for lots more examples of his unique sculptures.

http://www.rogerwhitaker.co.uk/

In this week’s Spotlight interview, we’re delving into the world of light and installations with talented up-and-coming artist, Clare Lynn. Clare’s work has memsmerised and intrigued many and with a tidal extravaganza just around the corner, she certainly has the future of her art mapped out!

Clare, light plays a major role in your work – when did you first begin to experiment with it and in what way?

I first started experimenting with light a couple of years ago when I saw footage on the internet of some light grafitti. They recorded it on film and animated it (I think the theme was Star Trek versus Star Wars!). I became fascinated with how they created it. From there I started using fibre optics in my work to have a go myself. The only paintings I ever did were a couple of pieces where I fitted fibre optics into the canvas so it glowed with the light. That’s where it started.  However, I’ve always had fascination with it light in art; Dan Flavin uses fluorescent tube lighting in his work and I went to see his art in the Haywood gallery; it blew me away and I was amazed at how something so simple could change the whole atmosphere of a room.

Your light installations are certainly captivating. How do people respond to seeing them?

The responses so far have been extremely positive. I’ve always felt that art should be for anybody and everybody and have had many people coming up to me after viewing my work and saying that they don’t go to galleries as they find them intimidating. They’ve said I’m bringing art to the public and I suppose I’ve fulfilled this element without even realising it! Installations give accessibility to everyone. During my installation in Chalkwell Park, youngsters were picking the LED cubes up and moving them around and creating their own pieces. They stuck the LED’s in their skateboard ramps! It was really interesting to see their own creativity coming out of something I’d placed. That particular installation also made the park a safe place to walk through. It’s now open all night and many felt unsafe passing through it, but that changed when the installation was up. Light brings a sense of safety to people.

How long does an installation take you to set up, from concept to finished installation?

The Chalkwell Park project took two weeks to prepare. Once I’d come up with the idea and planning, I had to cut cubes out and then start gluing together the LED and batteries – I eventually had 400 cubes all lit up. I had a team of friends and family helping me stick them all together and that took about 40 mins to install them. After that it’s a case of watching and seeing people’s reactions. Whenever I do an installation or abstract photograph it’s so unpredictable. I always have a vision in my mind but I’m same as a viewer really. I’m trying to plan but you only have the one chance to get it right! I can’t rub it out and start again if it doesn’t look right! But each one is a learning curve so I never lose out. I always try to break the area I’m working in down and work out numbers so the chance of miscounting or things going wrong is minimal.

Do I plan ahead lots?  No!  I think if you think about something too much you don’t end up doing it. If you over analyse something you stop and anyway I’ve always  gained experience whatever happens! You learn along the way! I did ask the parkeepers’ permission first at Chalkwell Park though!   I’m not trying to make any political point or create any discomfort or aggravation so I always try to plan, get permission and to stage them where people will appreciate them

How does the weather affect your work (and your mood when having to create art in it!)?

I try to let it not affect me! When you’re working with landscape and nature it’s brilliant if the weather does stay good. I release leaflets and posters prior to the event to advertise it and it’s difficult to cancel unless it’s really severe weather! People do still turn up. However I like the rain – I think when art is involved it’s more atmospheric! The wind creates the same effect; a light cube will roll around in a strong breeze and that’s just as interesting as it being static.

So you don’t mind being exposed to the elements instead of producing your work inside a warm cosy studio?

No I don’t! I suppose I just love it so much. Sometimes if the weather’s not great it can be a bit difficult and cold and then I think how nice it would be to be inside with a cup of tea! But really I like being out in the elements. They really inspire me in what I do. I did used to work a lot indoors which was fine but I always felt really restricted. Faced with four white walls and an empty room I don’t feel as creative as when I’m outdoors. I’ve got inspiration from other artist’s whose works featured nature heavily; Turner would try and capture feelings of awe and admiration of how powerful nature is in his paintings and I suppose from that point of view it’s taken me to a point where I’m fascinated too. At night the landscape completely changes when you place light in it – it transforms it.

Do people visiting your installations get close-up to the pieces and feel they’re seeing ‘art’ or do they feel they’re part of an experience?

With a light installation, the art is around somebody when they enter, therefore it’s a different experience to viewing a painting. This form of art surrounds the viewer. They walk into the work and become almost part of it. That’s what I love about it; it’s that physicality of light and safety surrounding them.

What is your current project and when is it taking place?

At the moment I’m working on an installation in Southend down in Thorpe Bay. It’s part of the seafront and I’m going to be mapping the tide with lights as it goes out. I’ll be placing a line of LED’s across the beach which will create numourous lines of light as the tide’s receding and I’ll follow the wave patterns. People can watch and they’re more than welcome to help and trace the tide also. It’s a beautiful way of tracing a natural process. I was out there yesterday placing a few lights and doing some planning and I found it quite meditative. The actual event is on Thursday, 16th April 2009 at no earlier than 7.30 in the evening. I’ll probably use around a thousand led’s so it should be quite effective! It’s not a predictable experience but I try and overwhelm the viewer in scale with light and a large project often produces awe in the viewer.

How do people respond to your abstract photographs/resin boxes?

I haven’t yet had a lot of feedback but the comments I have had have been very positive. The fibre optic photos in particular were interesting to many; they were interested in the process and a lot of people commented on how they actually looked like paintings.

How do you get your ideas for your abstract photography?
Curiosity! Because we were in our first year at college when I made these I was always wondering how things are done. I love Ian davenport; he does the very straight drips running down canvas and from that work he started becoming fascinated by dripping paint. I went and constructed frames and then dripped my own paint over them. Then I tried mixing stuff into the paint and then I went onto resin. It takes me ages as it involves a lot of wrapping and layer-drying; one frame takes at least a month! Light installations really my main thing now.  The resin boxes and photos are what people would buy but with the installations my reward is from people’s feedback and emotions.

You’re currently studying for your degree and have gained some valuable exhibition experience along the way. Do you feel, as an up-and-coming artist, that you know how to go about furthering your career when you’ve finished? Is there enough advice out there or do you put it down to luck?

I was originally very put off from ever entering the art world. I never thought I could do it. Then I just thought I’d take the gamble and maybe end up teaching. Now that I’m nearing the end of my training, I’ve changed my mind! Teaching is ok but personally I want to be out in the field before I teach. I have approached galleries and cafes that will display artwork and now two have my artwork up for sale. Also I’ve found The Artists Web to be a great tool; it’s all about getting yourself known. Doing the big installations gets me recognition so I tend to do that mostly now; besides, I enjoy it the most! People come and see what you’ve created and become part of the work itself. You get chatting and networking. It’s a case of being open, receptive and grabbing all the opportunities that comes your way. The Graduate Show in Brick Lane is in June, so lots of galleries will be viewing that. I will still do installations as much as possible and also still try to network.

We would like to thank Clare for her time and for her fascinating insights into her remarkable work.  Visit Clare’s website for more information and pictures of her amazing abstract photography and light installations.

http://www.clarelynn.co.uk/