Museums in Quarantine – Connecting Digitally Through Arts and Culture

Each year since 2014, museums across the world have collaborated in a shared initiative to celebrate their treasures with the public in an online festival known as ‘MuseumWeek.’

MuseumWeek has now grown to include over 60,000 participants from 100+ countries. According to its website, it has become the first virtual, worldwide cultural event on Facebook, Instagram, Twitter, Weibo, WeChat, and VKontakte.

Between 11 May- 17 May this year, many of your much-loved museums have been participating via their social media, at a time when it is vital to connect.

Technology has often had a strange tension between being a blessing and a curse. It has blessed people through the dissemination of information and connecting people in ways that otherwise would not be possible. However, it has also caused uncertainty, where the threat of technology consuming life has pervaded literature and the arts, from dystopian writers such as George Orwell and HG Wells to science fiction films like, but not limited to, Blade Runner (1982) and 2049, Terminator, RoboCop, and Alita: Battle Angel. As we begin to rely increasingly on technology, it is inevitable that we refer to visionaries who have imagined a future that has been absorbed by technology, either willingly or unwillingly, consciously or unconsciously, for good or bad. I took a while to join any form of social media and was only persuaded to do so in University, as a way to keep in touch.

There is also the issue of trust in images that pervade modern culture, such as the utilization of Photoshop, where images can so easily be manipulated and the lines between fact and fiction blurred. This is a fascinating issue that has been explored in Dr, James Fox’s The Age of The Image, a series that I would recommend watching on BBC iPlayer.

The idea of whether a happy equilibrium could be met between humanity and technology has become heightened in these recent extraordinary times, where imposed lockdowns and restrictions on movement due to Covid-19 has meant people have turned more to social media as a way to connect to others, to culture, the natural world, or whatever they miss from their normal routine.

As an artist, I spend much of my time in my studio creating, and I have seen other artists argue that they have been in lockdown ever since they can remember. However, I also feel acutely the lack of being able to freely move without restriction. I think however that often, and not to become too philosophical, that even as prisoners of war can attest, freedom ultimately lies in your mind.

Times of hardship have often proven to activate the imagination and creativity, reinspiring people to see their surroundings in a whole new light, bringing forth a mental and even spiritual transformation.

Rather than being overcome by inertia, those working at these places of culture have become even more resourceful during the lockdown. As James Fox rightly says, you can’t lockdown, or lock up the imagination. Throughout the lockdown, James has been sharing pieces of art on his Twitter account that he feels will help people come to terms with isolation. You can follow him @doctorjamesfox.

Since joining social media, I have enjoyed following my favourite museums on Instagram and Twitter, when I have not been able to attend in person. Museums such as The Wallace Collection, the V&A, the Louvre, the British Museum, The Museum of Natural History, The Science Museum, The Met, amongst so many others. I also enjoy following other art institutions such as Christie’s or National Trust properties like Waddesdon Manor, as, like the other museums I mentioned, they consistently share their most beloved treasures and stories in a way that engages the viewer and informs them, keeping their minds occupied and relieving boredom. You can even get involved with their accounts by participating in their interactive challenges, such as creating an artwork based on an item in their collection or reenacting a famous painting.

The willingness of the public to engage with these institutions online proves to me that time and again, arts and culture provide a vital means of education, inspiration, and entertainment at any period of time and are a way of understanding current experiences. By seeing stories from the past or how artists have translated their times, whether they have lived through war or peace, can often be a way of inspiring further generations on how to react in our times. Technology can never replace a loved one, but for those struggling with not being able to be physically close to those they love most, social media can be a form of comfort and can help reinforce gratitude and appreciation. Seeing through the eyes of a curator or artist can not only help relieve boredom, but also anxiety, bringing a sense of peace to the viewer.

Even when there is no lockdown, I would recommend following MuseumWeek’s account, or simply your favourite museums and art galleries on social media, either Facebook, Instagram, or Twitter, or if you are like me, a combination of all three.

Personally, I have enjoyed learning new things about The Wallace Collection, Christie’s, and The National Trust’s Waddesdon Manor, to name a few (a more extensive list is included at the end of this blog). All three actively invite the public to get involved with them through various activities and challenges.

Based in Manchester Square, London, The Wallace Collection is a cornucopia of eclectic and exquisite items housed within beautiful interiors, including armour, sculpture, furniture, and paintings, collected by the Marquesses of Hertford and Sir Richard Wallace in the 18th and 19th centuries. My father and I had actually booked to attend a day’s conference on Indian, Iranian, and Ottoman arms and armour at the museum, which we look forward to attending when possible.

The Wallace Collection’s IG page.

Waddesdon Manor in Aylesbury, Buckinghamshire, one of my favourite National Trust properties, if not favourite (it bears a remarkable and convenient resemblance to my beloved uni, Royal Holloway), was founded by The Rothschild family of Jewish bankers, and is a beautiful French Renaissance house, with sumptuous interiors, an exciting sculpture trail, and a lovely history of supporting the local community.

Waddesdon Manor’s IG page.

Waddesdon Manor’s Twitter page, which has a different collection of stories to its other accounts.

Christie’s, located on Kings Street, St James’, also has a wonderful collection of treasures that vary in each auction, from ancient history to the present day.

Christie’s’ Instagram page.

I would always argue that we should never rely on technology and that physical relationships are always superior, however, technology has a surprising way of blessing us in ways that might not previously have been appreciated.

I follow a lot of accounts that focus on my interests (quite a few it seems!), such as history, the natural world, space science, wildlife, design, fashion, interiors, engineering, architecture, art, and even technology itself as a means of design. I honestly believe that you never stop learning and that you can learn from anything and anyone, whether online or offline; it is your attitude that determines whether it is beneficial to you or not.

I think having an appreciation of arts and culture encompasses a cross-section of so many other fields, such as history, fashion, etc and enriches people in such an important way, acting as a vital artery to society itself. It has even been proven to be effective as a form of art therapy for people facing loneliness, whether in lockdown or not, rates of suicide, etc and problems with mental health; feeling a connection to someone, whether you know them or not, whether online or offline, can be very important, and even more so at this time. Even accounts such as the National Geographic or NASA help you to transcend your physical limitations, transporting you to different places in an instant. I will gladly argue that you will find following these accounts very rewarding and enriching, even liberating, whether you are in lockdown or not.

I would also argue that following these places digitally encourages the viewer to want to visit their physical space, if at all possible, and to support them in the physical world. Let us not forget that social media is a free service, and if you can, please support them through a donation or even liking and following their page, as it is a way of showing your appreciation of those people curating such entertaining and educational pieces of content, letting them know that what they do is as valued as any other essential service or area of society.

The themes that MuseumWeek has already covered include #heroesMW, timely after the 75th anniversary of VE Day, and #CultureInQuarantineMW.

Today, on Wednesday 13 May, the theme is #togetherMW, which seems wholly appropriate for the current times.

We can look forward to Thursday’s #MuseumMomentsMW, where museums will recall memories, #climateMW on Friday for climate change (timely after Earth Day on 22 April), #technologyMW, to justify their digital presence, finishing with #dreamsMW.

I have included just a selection of my favourite arts and culture accounts to follow below, for both MuseumWeek and in general:

The Wallace Collection
Instagram – @wallacemuseum
Twitter – @wallacemuseum
Facebook – @wallacemuseum

Christie’s
Instagram – @christiesinc
Twitter – @ChristiesInc
Facebook – @Christies

Waddesdon Manor
Instagram – @waddesdonmanor_nt
Twitter – @WaddesdonManor
Facebook – @WaddesdonManor

The V&A
Instagram – @vamuseum
Twitter – @V_and_A
Facebook – @victoriaandalbertmuseum

Fitzwilliam Museum
Instagram – @fitzmuseum_uk
Twitter – @FitzMuseum_UK
Facebook – @fitzwilliammuseum

The Louvre
Instagram – @thelouvremuseum
Twitter – @MuseeLouvre
Facebook – @museedulouvre

The British Museum
Instagram – @britishmuseum
Twitter – @britishmuseum
Facebook – @britishmuseum

The Natural History Museum
Instagram – @natural_history_museum
Twitter – @NHM_London
Facebook – @naturalhistorymuseum

The Science Museum
Instagram – @sciencemuseum
Twitter – @sciencemuseum
Facebook – @sciencemuseumlondon

The Met
Instagram – @metmuseum
Twitter – @metmuseum
Facebook – @metmuseum

The American Museum of Natural History
Instagram – @amnh
Twitter – @AMNH
Facebook – @naturalhistory

MuseumWeek
Instagram – @museumweek
Twitter – @MuseumWeek
Facebook – @MuseumWeekOfficial

*Please note, all opinions are my own*

Discovering Rare Masterpieces & 5000 years of Art at London Art Week, July 2018

‘The artist sees what others only catch a glimpse of.’ Leonardo da Vinci

Nestled between the streets of Mayfair and St James’, behind the elegant facades of historic London townhouses, lies 40 bespoke galleries, 3 of the world’s most celebrated auction houses, and over 5000 years of art.

For traditional fine art dealers, collectors and enthusiasts alike, this affluent district provides a marvelous treasure trove of ancient sculptures, old master paintings, post-Impressionist paintings, drawings, and textiles.

Each gallery is a specialist in their field, catering both to prominent museums and art collectors, as well as being open to all members of the public throughout the year. They offer a unique opportunity to peruse and buy, artworks and masterpieces at leisure and in a private setting, a welcome refuge away from the crowds at larger institutions.

Often operating through word of mouth, each gallery is so specialised in its area and seemingly discreet, that most clients become familiar with their exhibitions not just through publications and extensive scholarship, but also through fine art fairs such as Masterpiece, which is held annually at the Royal Hospital Chelsea.

The galleries and auction houses also participate in London Art Week, a twice yearly event which acts as a tantalising taster into their acquisitions, exhibitions and research. Visitors are offered free art gallery tours, talks and the opportunity to buy artworks from some of the most distinguished art dealers and curators.

Just as Leonardo Da Vinci adeptly expressed the unique vision an artist has, so do collectors, connoisseurs, dealers and art enthusiasts yearn to see into the soul of the artist and, through years of dedicated research, expertise and passion, bring to light the periods of art history which deserve inclusion in the canon of artistic influence.

Over the course of one week, from 29 June to 6 July, the founders of London Art Week (LAW), take visitors on a free lunchtime walking tour in either Mayfair or St James’, with the itinerary changing each day. I attended the tour on 4th July, lasting just 60 minutes and offering a glimpse into four bespoke art galleries in Mayfair. Some galleries were also exhibiting artworks at Masterpiece, but many of their most historically significant pieces remained at the gallery. I had no previous knowledge of which specific galleries we would visit and I was delighted with the ones chosen by LAW that day, some almost concealed on street view in elegant London townhouses and all within walking distance of one another.

Our first port of call was Lullo – Pampoulides on Cork Street, exhibiting master paintings and sculpture. Established in 2016 by Andrea Lullo and Andreas Pampoulides, each artwork was presented with rigorous scholarship, their aim, according to gallery manager Chiara, to assist art lovers from all ages to engage with art across all periods.

The below oil painting by Antonio Mancini (1852-1930) was the most contemporary painting on display at Lullo – Pampoulides, having been painted in 1910. Entitled ‘Suonatrice di mandola’ or ‘Il costume giapponsese,’ it depicts a woman wearing an antique Japanese costume playing the mandola. The paint thickens in places in an expressive impasto technique, creating a glistening effect. The use of light within the painting illuminates her smiling expression, suggesting her contentment and ease with the viewer:

Both Lullo and Pampoulides are compelled by their passion for art and acquire pieces that especially capture their discerning eye, even if the origins or attribution is unknown. Part of the joy of being an art specialist must be in the pursuit of discovery and unearthing new and historically significant artefacts! The below terracotta sculpture, depicted with the same energy as an Auguste Rodin piece, is awaiting attribution and currently undergoing research. A recent acquisition, it has however been established to be of the esteemed classical composer, Giuseppe Verdi, but sculpted post humously.

A stunning bronze sculpture of Jesus is also a recent acquisition and is under investigation for its attribution.

Directly across the street from Lullo – Pampoulides lies Sam Fogg gallery, his name emblazoned prominently above the large windows. A leading art dealer in late medieval and renaissance textiles, Fogg is committed to redefining the market for medieval art in Europe. Luxurious silks, intricate weaves, patterns and tapestries in incredible colours and condition adorned the walls in a mixture of Christian, Islamic and Indian pieces.

Where some tapestries were evidently historic in their patterns, some were also quite contemporary in their designs, such as this Perugia Towel, with wyverns, griffins and human figures. Dating from 15th or 16th century, the towel originates from Central Italy:

Velvet chasuble back with the Crucifixion from Central Europe, Bohemia, circa 1500:

As a reader of English Literature at University, with modules on Medieval literature, chivalric romances in particular, I was delighted to discover this large tapestry depicting The Marriage of Blanchefleur from the Story of Garin and Begon, originating from Southern Netherlands in 1460-80:

Next we visited Lowell Libson & Johnny Yarker, specialist dealers in British art with an emphasis on watercolours, paintings, sculpture and drawings of the seventeenth to mid-nineteenth centuries. Their exhibition, ‘The Spirit & Force of Art: Drawing in Britain 1600-1750‘, was on show from 29 June to 6 July so it is worth researching the galleries to see what and when they will feature a new exhibition. The result of ten years collecting, this unprecedented exhibition celebrated almost 100 British drawings from a period before the foundation of the Royal Academy. It offered a rare opportunity for art collectors and museums to acquire significant works from 1600-1750 that were previously neglected by the art market and both private and institutional collectors. Some of the artworks on display were influenced by the fashionable Dutch and Flemish styles of the sixteenth century, rather than by the Italian imports during the reign of Charles II.

I look forward to visiting Libson Yarker again and perusing further drawings by master court painter, Sir Peter Lely, and renowned 16th century artist Louis Laguerre, whose murals decorate Fetcham Park House, a gorgeous Grade II listed house and wedding venue. There is also a portrait of the English ship, Princess, by Willem Van de Velde the Younger, 1633-1707, that was particularly intricate and beautiful.

Isaac Oliver’s masterpiece in miniature, The Annunciation to the Shepherds:

Jacques Rigaud, The Rotunda at Stowe:

Louis Cheron’s drawing of Mars:

Our last stop on the art tour was Ben Elwes Fine Art, a specialist dealer in Old Master, British, nineteenth and twentieth century paintings, drawings and sculpture. Together with his wife and co-director, Rachel Layton Elwes, who comes from an American academic and museum background, they offer a discreet service, with broad expertise in the market. Their clients include the National Gallery, Tate Britain, the Musee du Louvre and the Met.

Their exhibition for London Art Week featured vibrant Old Master oil paintings on canvas and copper, the latter material delivering a gorgeous intensity of colour.

The below oil on canvas painting by Carlo Dolci is entitled ‘Portrait of a Young Man,’ and was completed between 1627-1633. This portrait, perhaps of a fellow artist, was painted when the artist was just 12 years old, however as Ben pointed out, an artist would often be apprenticed at a professional artist’s studio from the age of six, so this portrait is in fact the culmination of six or seven years of experience:

A portrait of Jesus which captures the highly emotional moment before he was flogged. Giovanni Lanfranco (1582-1647), Christ at the Column, Oil on copper:

Ben and Rachel also have a propensity to collect abolitionist art, particularly as a result of Rachel’s study of African American history. Aside from some poignant artefacts such as an original slave collar, there was also a Staffordshire porcelain figure of abolitionist, John Brown, and the below painting by prominent early nineteenth century artist, Henry Hoppner Meyer (1780-1847). Entitled ‘A Young Catechist’, it depicts a young missionary teaching a slave how to pray. The portrait was exhibited at the Society of British Artists in 1827, accompanied by a poem by Charles Lamb.

A corner of the gallery also revealed this treasure, a portrait of a Navajo woman painted in 1916 by Maxwell Armfield:

The tour was now complete, but the founder of London Art Week and our guide, Philippa, urged us to visit Daniel Katz gallery and Ariadne gallery, both situated in a Victorian townhouse just off Berkeley Square. Behind an elegant façade, paintings from antiquity to the twentieth century were on display.

Located on the first and second floors, the exhibition at Daniel Katz placed an emphasis on women in elegance for London Art Week and included paintings by Gustav Klimt and Dante Gabriel Rossetti of the pre-raphaelite brotherhood.

Oil on canvas portrait of Lady Hillington by Sir Frank Dickser, 1905:

A Japanese Lady, oil on canvas, by William Meritt Chase, circa 1902:

A vibrant study of a Neopolitan girl by John Frederick Lewis, RA (1804-1876), in mixed media: pencil, black chalk and watercolour.

Rounding the corner of the main hall however, was this magnificent oil painting seemingly illuminating the dimly lit corridor. There was no description which added to its enigmatic quality, but the intensity of light exuding from the painting in almost a chiaroscuro effect was astonishing.

This detail of the silk dress emphasises the remarkable glazing technique of the artist to render a translucent and almost sculpture like effect.

Upon walking upstairs to Ariadne Gallery, my friend and I stumbled upon the director’s office where he kindly allowed us to look around the art pieces on display. This clock caught my attention and although we didn’t have time to discuss the piece with the director at the time, its elaborate design reminded me of one of my favourite periods of art history, Baroque.

On the second floor of the townhouse lay Ariadne Galleries, leading specialists in ancient art. Based in New York with their second gallery in Mayfair, the family dealers have established themselves as unique in their field, with an extensive client base stretching from private collectors to prominent institutions. They are also regular exhibitors at Frieze Art Fair, Tefaf and Masterpiece.

Miniature artefacts of antiquity were delicately arranged on plinths, not behind glass as in the British Museum, but on display for buyers and collectors to handle (with care of course). Indeed, the artefacts were not originally intended for arts sake or even solely for burial purposes, but also to be used either in religious rites or everyday use, such as a mirror or cosmetic vessel, the latter of which was intended perhaps to hold perfume. It’s also incredible to fathom that these artworks were created without machinery or complex tools.

The minimalist design of the artefacts bordered on abstraction, void of unnecessary details. The central figure in the below photo reminded me of Alberto Giacommeti’s work and although it might look modern, like other pieces in the gallery, it seems generations of subsequent sculptors and painters such as Picasso have simply been inspired by ancient artworks to create similar styles of art:

Gallery specialist, Alex, pointed out that artists from ancient periods have been largely erased from history, the sole purpose of the work was to signify something symbolic and cultural, larger than the artist themselves. Indeed, the artwork is then admired for its own sake or its religious significance, rather than a study of a particular artists work. This is in stark contrast to artists from the Renaissance onwards, where the artists name has become more important.

Juxtaposed against these ancient works of art were abstract modern paintings by Richard Serra; the contrast of black etching ink, silica and paintstick on handmade white paper evoked a similar, yet contemporary, mystery and primeval quality.

From Mayfair, we then headed to Christie’s on King Street, St James’ London. Founded by James Christie, the auction house has established itself as the greatest and most celebrated market leader in old master paintings, most recently selling Leonardo Da Vinci’s Salvator Mundi for $450 million. My friend and I had just missed the auction viewing, but will be headed there again for another viewing in the near future!

One particular wish of mine during London Art Week was to see works by Canova, considering we had missed a recent talk on his works. With that in mind, we headed to Robilant and Voena located in Dover Street, where the curators have acquired a vast range of fifteenth century to twenty first: old masters and nineteenth century painting, classic modern, Italian post-war and contemporary art. They have also shown works by another of my favourite artists, Caravaggio.

Luminous oil paintings adorned the walls but I eventually found what I had been seeking, not the subject necessarily, which was of Caroline Bonaparte (apologies to Caroline), but the artist, Antonio Canova; his sculpture, Psyche being revived by Cupid’s kiss, is an emotional and graceful piece capturing the beauty of their love seemingly effortlessly. To render such a tender look in marble for me is astonishing and reflects a similar prowess to another sculptor, Gian Lorenzo Bernini.

There are many more galleries in Mayfair and St James’ that participate in London Art Week and which I didn’t have time to visit, so I look forward to discovering their artworks soon! I would highly recommend visiting these galleries throughout the year to either peruse or buy, an appointment is not needed. Intimate settings define the galleries on show and offer a welcome private retreat from the crowds at other larger institutions nearby. The owners and gallery specialists look forward to welcoming you soon!

This is my oil on paper rendition of a beautiful ornate pattern which can be found at Sam Fogg’s gallery on a panel of polychrome voided silk velvet from Ottoman Turkey, circa 1460-90:

Art & commercialism: dispelling the myth of the ‘starving artist’

“Talent is God given. Be humble. Fame is man-given. Be grateful. Conceit is self-given. Be careful.” John Wooden

Under normal circumstances, I would now be writing a mini report on my first Parallax art fair at Chelsea Town Hall and how much I enjoyed meeting the public and fellow artists. However, whilst at the fair I was confronted with the statement ‘an artist cannot make a living on his/her art’, which I felt compelled to address.

The statement came from a fellow artist (a retired gentleman who was also exhibiting) and I was stunned that he held this opinion, especially as I have been surrounded and encouraged by artists who make a very good living. It is also incredibly easy to find many successful artists simply by doing a google search. I myself sold my first original oil painting at the age of 15 to one of my teachers, and at the time I remember being delighted and surprised that someone liked my art enough to want to buy it. I mentioned this and he seemed surprised that his worldview was not wholly representative.

To be honest, I enjoy the challenge of breaking those perceptions and walls that enclose people’s minds to possibility. When I first sold a painting, I was a very academically minded student, who loved her studies and kept her passion for dance, sport and art in her spare time. I had an almost insatiable desire for knowledge and wanted to pursue a ‘sensible’ career. I had many interests but felt my love for English was the surest way to a ‘stable’ job, either through becoming a cultural journalist or similar, as it would encompass my love for writing, travel, science, nature etc in one. I had also convinced myself (to the disappointment of my art teachers), that if I studied Fine Art at Uni, I would lose my freedom and style. I decided to continue painting ‘on the side’ and instead pursued academic excellence and scholarships, earning myself a place at Royal Holloway, University of London, studying English Literature.

I continued to enjoy regular paid art commissions for clients since that first sale, selling original work and having exhibitions, but I had apparently been indoctrinated somewhere it ‘was not possible’ to paint and make a living. I was guilty of building my own walls and this was exacerbated by the 18^th century (perhaps symbolically archaic) phrase ‘I don’t want you to be a starving artist’ sometimes quoted over the years from a few well-meaning friends and relatives.

Thankfully, my ‘art-career’ worldview transformed when I met hypperrealist artist and royal portrait painter, Darren Baker, in early 2015. Some say that life is full of coincidences, random meetings, serendipity or fate. I am in the ‘fate’ camp, or rather ‘divine intervention,’ due to my Christian faith. Everything happens for a reason and so it is always good to be spontaneous. I had discovered Darren’s work online and admired one of his works in particular, an oil painting of a race horse. I signed up to his mailing list (essential to any artist!), and was soon invited to a private view held at his newly opened gallery, on the perhaps symbolically named Charlotte Street, in London’s Fitzrovia. Darren was present at the event and towards the end of the evening I gathered the courage to speak to him about his work.

I quickly realised Darren was far more interested in my own art and asked to see some examples. He really liked my work and, to my utter astonishment and delight, offered to show my paintings alongside his. Realising he was being serious, I agreed and soon began working on my first seascape series, ready for exhibition in September 2015. I had the privilege of being introduced to internationally renowned established artists from that point on; exhibiting alongside Darren Baker, Chinese artist/activist and Royal Academy exhibitor Ai Wei Wei and microartist Graham Short. I have kept in contact with Graham since our group exhibition and am currently working on a portrait of him (soon to be revealed!). I then met Burmese artist Min Wae Aung at a private view in London in 2016 and have kept in contact, with an open invitation to exhibit either solo or in a group.

These artists (who happen to be male, although I have never seen this as a significant factor) played a huge role in encouraging me in my painting. They were already successful and could easily advise others. I was also not intimidated by their success, nor insecure in my own abilities. Since then I have discovered many artists online whom I admire and who enjoy success, painting because they love it and the earnings follow: these include Ran Ortner, Joel Rea and Andrew Tischler. They have become my gauge as to what is possible in this field, so I remain persevering and adamant in my work. The key is to surround yourself with positive, successful (this comes in many forms), secure people, those who will most importantly pull you up, not bring you down. Always be confident in your own work, be ready to learn, and to look at the successes of others as something to celebrate and encourage you, not to make you insecure. My own security lies in my faith and my family and friends, not my ability, material success or worldly validation.

Indeed, I have the absolute honour and privilege of being part of an incredibly supportive and loving family, who have given me amazing life lessons. Due to my parents’ jobs in luxury architecture and interior design, my sister and I were introduced from an early age to very ‘materially’ successful individuals and companies. Our parents taught us to remain humble no matter our success, to identify with those who have ‘material success’ and those who have little, and to stay close to family and friends. I have learnt how to be with people from different social stratospheres and hopefully can help enable conversations between both. I believe that anyone who has the right attitude is worth admiring. There is no point gaining the world, yet losing your soul.

After I left my marketing role three years ago to first take a ‘leap of faith’ into the art industry, I was quickly tempted by a large investment firm asking me to work for them for a very attractive salary (potentially earning up to six figures in just three years). The material rewards and financial ‘security’ were promising. However, on asking them how long I would have to focus on my art, they said I would probably need to forsake it as I wouldn’t realistically have time. The job offer still stands but I have not taken it. I have been converted from an academically minded person to a full believer that I can earn a living from my art, without losing my soul to materialism and commerce or myself becoming a product.

I did not study fine art, but I have heard that at Universities, it is not always encouraged to be ‘commercial’ or in other words, to sell your art. This is detrimental to artists; as Parallax have pointed out, artists have always been capable of earning. Historically, they earned on a commission basis (as I mostly did early on) and followed what the public wanted, which gave them ‘financial’ security.

For those concerned, being a successful artist has never been limited to men. There are many successful living female artists such as Marina Abramovic, Zaria Forman, Bridget Riley and Vija Celmins to name a few. Mary Beale was the first commercially successful female artist – there was a fascinating BBC 4 documentary recently on her ‘lost masterpieces,’ presented by art historian Dr Brendor Grosvenor and social historian Emma Dabiri. Some may argue that Mary’s gender disadvantaged her, being always compared to Peter Lely. However I am of the firm belief that she was successful in spite of such social ‘obstacles,’ indeed she was commercially successful which is incredible for the 1600s.

Both men and women have encouraged me to pursue art full time, although of course I have encountered insecure male and female artists who have become seemingly embittered and jealous of successful artists, perhaps as a result of not receiving encouragement/opportunities themselves and instead settling with unfulfilling jobs, or ones that are viewed by the world as ‘conventional.’ Many artists have had different careers before pursuing art full time later in life, but I know I would regret waiting.

I am a ‘glass half full’ person- the way you perceive a situation is usually dependent on your personality and experiences. Positivity (no matter the circumstances) conquers negativity every time – who can be creative or successful if they are negative? If you are not surrounded by positive, encouraging people, especially those closest to you, then seek them out. There lies the blessing of the internet – there are many ‘trolls’, but even more successful, generous hearted people who are excellent role models and do not care for the jealousy of others. A person’s opinion is always an extension of themselves – those who are embittered and jealous have most probably experienced negativity so be kind and encouraging at all times. Everybody needs it. If there was more love, kindness and encouragement in the world, a lot of its manmade problems wouldn’t exist, but that is for another blog and this one is already quite long.

I believe the view that it ‘isn’t possible to earn a living as an artist,’ is sadly shared by many artists who are simply not sure how to turn their painting into a business per se. The first and most important thing is to work hard, be honest and a team player. It says in the Bible that to refresh others is to refresh yourself. Be a blessing and be constructive, even if you disagree.

I am grateful to have always received admiration on my work by artists and non artists alike, however I have also at times felt a strange competitive and jealous spirit from both male and female artists in various exhibitions I have attended and exhibited at (not the ones I have mentioned of course!). Why? We are a community, we do the same discipline but in our own voice; we are not (hopefully) an echo of others. So how is there a comparison? There is a saying that there is a client for every piece of artwork, so artists should be less insecure or critical of others’ work.

John Wooden’s quote is pretty much my family’s mantra (thank you to Biljana , a lovely artist I met at Parallax, who retweeted it on Twitter the other day!). Let us deconstruct it, as I feel it is so timely and powerful

‘Talent is God-given. Be humble’ (as a person of faith, I agree with this), ‘gifts’ are often apparent early on in life and when nurtured properly, lead to success, hence protegees etc. People without a faith may not believe this, but a gift is certainly something that can be innate/possibly inherited at times, even a result of rare accidents which triggers something in the brain. Some artists are considered more gifted than others, but that is no reason to be proud.
‘Fame is manmade. Be grateful,’ as it could disappear the next day!
‘Conceit is self-given. Be careful.’ Many artists have succumbed to the temptation to self-glorify and have risked having their vanity remembered far more than any ‘talent.’ After meeting many artists over the last three years, I am not interested in conceited artists (or people for that matter), but those who are humble and have a healthy self-belief, no matter how talented or how successful they have become. Too many artists seem to be self-involved and competitive, veiling their insecurity in overcompensated arrogance.

Maybe this is my own artistic utopia that I am envisaging, but I want artists to be more generous and kind to others in their field and to know that to be humble is a very attractive thing to potential buyers and to the world in general. Art is a piece of your soul that you offer to the world on a sacrificial stone. It should be a process of love and an extension of your soul, and I hope it can be used more to give hope and joy to others. For someone who disliked social media with a passion and took years to even be persuaded to get a Facebook account, I know now how much art can inspire others and that encouragement is so needed both online and offline. I also want to assure other artists that they most certainly can make a very good living from doing what they love.