As part of our Artist Spotlight series, where we sit down with a range of artists at different stages of their careers, we always pose one question: What changes would you like to see in the future of the art industry?
In this edition, we’ve complied the perspectives of seven artists from the BRUSHWRK community. Their answers offer a rich tapestry of perspectives on how the art industry can evolve and thrive in conjunction with the world around us. Join us as we explore their visions for the future of the arts...
"This is a very good question. I want to see more space for people to just be themselves, just normally. What I'm trying to say here is I feel like a lot of the time when I go to art spaces or events, there seems to be this thing of people trying to sound artsy or trying to appear artsy, and if you're not that person that's ready to put on this artsy performance, then it can come across as a bit clicky, a bit hard to penetrate, because it's almost like its own language in a way.
But every now and again, I do meet people in the art world who just seem to just be floating around as themselves, like, they just seem more genuine in a way. It's quite hard to describe because I don't want to say that some people are not being genuine, but there definitely is a mould. If you fit the mould, then it's easier to fit in with the crowd and to go up the ladder versus if you're just, I don't know, trying to be you and just trying to create, then it's a lot harder to feel comfortable in those spaces, basically. So maybe the answer to that is actually just for there to be a variety of different spaces and platforms for all the different kinds of artists that fit the mould and for the ones that are outside of the box.
Another thing that I'd also like to see is something that I found when it comes to trying to get funding, is people wanting to have too much to say about how I'm going to spend the money, which doesn't really work if you're an artist that's
more spontaneous in their process.
With a lot of my work, as I said, I don't know why I'm creating it at the beginning. Why I’ve created it comes to me afterwards. That makes it quite hard for me then to do applications and that sort of thing, because they're asking me questions that I don't have the answers to. So it would be nice if it was possible for there to be spaces that give funding to artists to just create without asking so many questions. In an ideal world, that would be nice"
"I would really like to see more art in public space - I want artists to take over the world. I think seeing more art and creativity on the streets would lift everyone up"
"People forever tread on eggshells within the art industry.
Okay, so there's a few things to mention. Firstly, so many artists have to have side hustles, have different jobs, and have to support and sustain themselves. What I’d like to see is that being worn as a badge of pride, a lot more for me. I run my own studio, which is the main studio here, the
resin studio chamber through there is where the
resin casting happens. I have an incredible assistant who works off site that does lots of the sanding and finishing and processing for me now. I also am a founding member of Collective Ending, a massive arts organisation that provides for twelve artists and has done for almost five years in its permanent space. Alongside this, I run a massive tech company that is an umbrella for 15 to 20 freelance techs in London called London Art Services. The company acts as a figurehead, so that if the freelancers run into problems, they have an extra level of support.
This is something I'm incredibly proud of because I get to support and look after all of these artists who need to earn money alongside their careers. With all of this additional infrastructure, I've actually found I have a lot more time for my own practice, because there's a conglomerate of people supporting one another.
So when I hear about that from successful artists, that they might fit high end kitchens on the side because they have some crazy orientation of their practise, where they do mad bespoke art kitchens, things like that bestow the reality in young artists that it's okay to work that job at the Tate, that your career isn’t over if you have to work five shifts down at the pub each week. So first and foremost, I'd like more artists who are emerging, mid career, successful, to just let people know that for the most part, you really have to graft in order to get into the art world. In fact, it's a privilege and a compliment, and not something that belittles or is a demeanour to them, in and of themselves, as artists.
The second important point that I'd like to make is that the art world is incredibly exclusive, for better, for worse, in all its own ways. It's hard to break the seal, it's hard to tap into. The problem with that is that the art world is this tiny, tiny blip in the real world. There's a hilarious quote that the adhesives industry, the sale of cello-tape and packing materials, is bigger than the whole art world combined. So whenever you've got all these people taking their galleries really seriously and all the infrastructure, all the interns and stuff, I always remind myself that sellotape is a bigger and more profitable industry.
That said, there's so much money in the world that's being spent on anything and everything. And the art world needs to be more open and more inviting to that new wealth. The art world needs to invite people to start their collections. When you come into my gallery, I should be excited that you're looking to start a collection, not dismissive of the fact you don't have one already. And that's a really big problem - I've seen it firsthand. I've heard it through back alleys and channels, and now there's loads of wealth looking to invest in art, and contemporary art pushes it away, saying it's uneducated new wealth. What happens is that a pocket of money leaves the snoopy contemporary art gallery and walks down New Bond street, walks into one of those smoke and mirror galleries and goes and buys a massive inflatable Jeff Koons knockoff that costs 100k and is pretty much worthless.
There's this tragic shift where money is being pushed away from the arts, and it's getting smaller and smaller and more inclusive and more inclusive. I'm just terrified for the future, because I live a wonderful, fun, exciting, weird life within the arts. The best thing that can ever happen to me is I sell to someone who's starting their collection, as opposed to - that work’s being sold to a big collector [pointing at piece in the background]. It's been sitting here for a year and a half because all of her houses are full of art, all of her storage is full of art, so she doesn't have any impetus to collect it or to put it anywhere. Whereas when someone comes in and buys a low price point edition, and it's a resin fish in a bag,
and it's the first work they've ever owned, four months later, I get a message from them saying that their aunt, from such and such, thought it was real, and they had a half an hour conversation where they explained the reason and meaning behind the work and she loved it, and how grateful that person is. Nothing fulfils me more and is more humbling than those new collectors and encouraging people to start collecting"
“I mean, I feel like there's so many things, literally. But I was thinking about this question and I think now I'm just kind of trying to get on with it because I feel like if I start deeping things, I'm gonna get so sad. So I just try to not think too much. But I think the main thing I would say is that, now I'm 25 and I feel like - I was having a conversation about this - I feel like a lot of programmes cut off at 25. It's like, by 25, you should know. But some people are starting by age 27 and there's not as many resources available now. Those specific art programmes to encourage people into the industry cut off, so I'd like to see those age ranges extended. I feel like in 2024, getting by is actually hard with the cost of living and most people I know do not have things sorted out at 25 - I feel like I'm just starting really”
"How we communicate about arts and what language we use is really important. A lot of people tell me that I'm quite eloquent or I know how to speak well which is great. I can use the jargon but I’ve been told it’s more of my whimsical, airy-fairy and softer way of talking that connects to people. I know how to speak in a way that is interesting and can be formal when it needs to be, but also quite accessible. But there isn't much space for my type of writing or how I speak in a traditional art space. I can do the essays if I need to, I can do the traditional press writing if I need to, but then most people will switch off from that. So I have found with the content that I've been making, writing about shows, I literally write how I speak. It's as if you're listening to me talk, and it's been transcribed. It's not formative in any sort of way.
I would love for more opportunities for alternative writing practices to come into the art world, because when you're trying to write about something that's completely abstract and unique and sits in its own world, how can you use a universal ostracising language for that?
Often, writing in the art world will use words that most people don't hear, and you're trying to piece them together in silly ways to sound a certain way. No one cares! It's a pretty painting. It's a gorgeous picture. Just talk about it in accessible language, you know, like, it's not that deep. The way you're talking about this collection of work from the 1930s, you're also talking about a collection of work from 2018. You can't use the same language, you have to use something else.
Also, not everybody can access visual cues the same way. People don't even perceive colour the same way on a basic level. What's orange to me is not orange to someone else. So just relying on the visuals of the artwork to be the thing that explains anything is not enough. There are people who need words. There are people who need alternative connection routes. I think if writing was changed, that would make a huge difference.
I want people to just give their opinions, to share. Do you like this? Yeah. Why do you like it? Why is it here? We should have the space to talk about art like that, rather than in this very cold, third-person demeanour. I hate that.”
"I think greater diversity and inclusivity across all areas of the arts and the creative industry, because I think art can deliver really meaningful and impactful empathy and it's crucial that it reflects the huge tapestry of human experience"
"I think I would say more honesty, a more honest industry. Something that accommodates more voices and defends the artist"
If you enjoyed this article, make sure to check out our Artist Spotlight interviews over on https://www.brushwrk.co.uk/blog and whilst you’re there, why not have a look through all of the fantastic art we have for sale from emerging artists? Pop into the website to see what catches your eye…
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