Artiq Annual Volume 2

Artiq Annual Volume 2

2023/24

Artiq Annual Volume 2

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Editor's note

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Living up to Legacy Speaking to the creative and design teams behind Aviva Studios, home of Factory International

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Freedom in the Finite

The Future is Fatoş

A conversation with artists Cyrus Mahboubian and Rebecca Newnham

Interview with writer and curator Fatoş Üstek about fairness in the arts

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For What it’s Worth

Ones to Watch

Exploring the value of art beyond ownership

Four recent graduates that are pushing the boundaries of traditional expression

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Monuments of Meaning

Building a Better Future

Phineas Harper looks at art that goes against the grain of capitalism and commodification

Interview with Grosvenor’s Lucy Puddle about creating inclusive spaces

Contents

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A 21st Century Approach to Funding the Arts

Un-level Playing Fields

Amanda Parker re-imagines a more equitable future of arts funding

Three trailblazing organisations that are paving the way for future talent

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On Creativity

Artiq Asks

George Bird on the history of research into the psychology of creativity

Get to know renowned interior designer Martin Brudnizki

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Nostalgic Narratives Interview with artist Adam Bridgland about nostalgia and the visual dynamics of written language

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AI in Creativity: Tool or Collaborator?

The influence, apprehension and ethics surrounding the rise of artificial intelligence in the creative industries

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Crafting Belonging

A Curator's Take

Interview with artist Studio Lenca about documenting the undocumented

The benefits of artists and designers collaborating creatively

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Artiq Annual Volume 2

Editor’s Welcome to Volume 2 of Artiq Annual! This journal is a testament to the power of creativity and spotlights individuals and businesses that, like us, are creating impact with culture.

For the past (almost) 15 years, Artiq's mission has been to showcase the intrinsic value of creative work and how it builds the foundation for both the economy and society at large. Our strategy has focused on intersectoral partnerships, putting the power of contemporary art to play outside traditional exhibition spaces. The aim has always been to reshape the narrative of creativity in a way that resonates across industries and, in so doing, open up new funding routes to the arts, paving the way for a more resilient and sustainable sector.

The relationship between art and corporate patronage, particularly in the wake of years marked by funding cuts, is an indispensable lifeline for our industry. Yes, arts organisations need to be cautious about who they work with, but with overcautiousness comes the risk of missing out entirely.

When done with shared values and intent, the potential is boundless. This is illustrated by a closer look at Aviva Studios, home of Factory International. The recipient of the largest investment in the arts by the private sector ever seen in Britain, Manchester's new flagship cultural destination is already a shining example of corporate sponsorship done right. We also speak to Grosvenor's Lucy Puddle about the importance of inclusive design and creative partnerships in real estate and explore how businesses can harness the value of art beyond notions of ownership.

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Editor's note

note We also explore new models and ideals around funding. Artiq itself, of course, offers one solution, but getting society to value creativity more requires tackling on all fronts: Fatoş Üstek tells us about her fight for artists' fair pay and practice; Amanda Parker re-imagines a 21st century approach to funding and Phineas Harper examines art that goes against the grain of capitalism and commodification (and what we can all learn from it).

2024 will be the biggest election year in history. For the UK, our next government has a major opportunity to recognise as part of its legacy the importance of creative education, the value of creative careers, and the vital role creativity plays in defining generations, driving innovation, and inspiring change.

So, from the studios of four recent graduates and glorious interiors to harnessing AI as a collaborator and exploring the psychology of the creative mind, we hope this journal demonstrates that creativity can be visual art and storytelling; it is also progress and growth.

Patrick McCrae, co-founder and CEO at Artiq

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Living up to Legacy

Aviva Studios is embedded in Mancunian life. A cultural space built by and for the city, Factory International takes its name from Factory Records - the local record label behind Joy Division, New Order and the Haçienda. Speaking to the creative and design teams behind the new space, we travel the road that led to Aviva Studios, home of Factory International.

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Living up to Legacy

Factory International’s mission is clear: invent

Festival has been a long-standing endeavour.

tomorrow together. A chimeric combination

Now, the spirit of the festival has been contained

of music, dance, performance, theatre,

within a new, dynamic, purpose-built home.

exhibitions, gaming and more, the Manchester-

Aviva Studios, located alongside the River

based arts organisation have long championed

Irwell and Science and Industry Museum, opens

the importance of cross-disciplinary arts

a new range of possibilities for Manchester.

programming, bringing each strand of cultural

With a new building, new programme and new

production under their wing. Running

direction, Aviva Studios establishes itself as a

biannually, the Manchester International

game-changer.

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In the heart of Manchester’s St John

This curatorial perspective shift comes during

neighbourhood, Aviva Studios spans 13,350 sq

the early years of Level Up, Arts Council

meters, housing a 1600-seat theatre and open

England’s endeavour to cut £50m from London-

performance space capable of holding 5,000.

based arts organisations, instead pledging the

Walls – even ceilings – can be restructured,

funding towards arts organisations outside the

moved, and shifted to fit specific needs of

capital. Aviva Studios sees the largest treasury

both artist and audience. It means Factory

spend on a cultural project since the London-

International can program in a sandbox. From

based Tate Modern in 2000. The message sent

live performance to exhibition, theatre to play,

here is pertinent: why not Manchester?

there is a feeling of infinite potentiality; anything could happen.

Nicholas Serota, Chair of Arts Council England, states the funding body will invest £130m a

Factory International cannot predict where

year in the north of England, with £10m a year

and what the building will move into and have

going to Factory International. The building’s

no interest in doing so. The creative output is

name, Aviva Studios, came alongside £35m from

designed to serve the needs and wants of both

insurance firm Aviva, the largest investment in

local Mancunians and visiting audiences. Open,

the arts by the private sector ever seen in Britain.

adaptable, and accessible, Aviva Studios moves

Aviva act not as silent investor but cultural

in organic tandem with Manchester, responding

facilitator, helping foot the bill on education and

to its needs as and when they arise. There is a

ticketing. “Aviva Studios will help make arts and

distinct breaking here of both the physical and

culture more accessible and inclusive and follows

social barriers between art and viewer, subject

the significant investment Aviva Investors has

and object, performer and public.

already made in Manchester,” Amanda Blanc, Group Chief Executive Officer, Aviva, says.

Aviva Studios comes at a time of increased

Aviva Studios/Factory International traces its

discourse on public funding and the arts.

roots back to two Manchester histories: the

Often seen as “nice to have” luxury, Factory

industrial revolution, and underground music

International see Aviva Studios as a flagship in

culture. Labour and subculture are used both

the fight to defend the arts. Essential, integral,

thematically and graphically to understand the

and pedagogical, the space is dedicated not

journey and legacy of Aviva Studios, a place

just to creativity but affordable ticketing,

built on a philosophy of innovative creative

accessibility, and education. Courses run for

control.

both young people and adults, offering training in creative ventures. A collaborative curatorial

Through activist initiatives such as the Kill

approach sees the people of Manchester taking

the Bill campaign and Freedom to Party,

a leading role in programming talks, debates,

ravers implemented shifts within the political

and workshops. Partnerships with pre-

landscape, echoing the work laid a decade earlier

established local organisations see the space

during the miners’ strike. These contexts —

attempt to integrate with neighbours in

political, creative, expressive, and Northern

meaningful, long-term ways. It demonstrates a

— all converge on Factory Internationals’

democratisation of the role of a curator; here, the

namesake, the iconic Mancunian record Label

job is shared, malleable to the needs and desires

Factory Records. Factory Records employed a

of Manchester citizens.

unique business principle, providing signed

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Living up to Legacy

Aviva Studios. Photo by Marco Cappelletti, courtesy of OMA and Factory International.

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artists total control and ownership1. Aviva

North Design’s involvement carries a Mancunian,

Studios continues this legacy through an

Factory Records-informed legacy forward,

emphasis on unscripted creativity with open

building on its history and knowledge. When

calls for collaboration that are posted without a

creating the identity for Factory International/

brief. Factory International hands over control

Aviva Studios, the firm developed a mantra:

to the artist, acting not as surveilling parent but

“Where the art of the future will be made”. This

as supportive facilitator. Culture is not built, but

statement is as relevant for Factory International

grown. Oftentimes we can trace its origins back

as it was for Factory Records, and indeed

like a family tree. Popular culture grows from

Manchester itself. This notion of “looking

the traces and roots of subcultures, a dominant

back to look forward” resonates across North’s

“truth” born from the underground. Embraced

design philosophy, taking centre stage in their

by hipsters, the subculture gains exposure until

collaboration with Factory International. Rooted

eventually achieving mainstream adoption,

in a shared past, the project became a journey

moving away from original contexts to influence

into indelible memories, leaving marks on both

other aspects of culture. The tree grows.

the individual and the cultural landscape.

Hipster adoption becomes societal adaption, transforming the subculture into simply

Crafting a visual identity for Factory

“culture”. But why dissect the evolution of a

International presented a challenge; how to

subculture? Because it’s interesting. And because

avoid a predictable homage to the past while

Aviva Studios is a branch on this tree, one fed by

remaining steadfast in a vision rooted in

the cultures that came before.

longevity. Through collaborative efforts a set of values emerged, “wilful” standing out as a key

As the post-industrial landscape of Britain

concept. The unexpected term encapsulated the

underwent a transformative process, Manchester

essence of bridging the past with an unwavering

developed a renewed identity, the demise of the

focus on the future, guiding visual concepts

coal industry coinciding with the emergence

towards a meaningful and distinctly forward-

of UK rave culture. Rave provided an escape

looking direction.

from harsh realities, offering a new realm of expression via music and hardcore dance.

This history-informed design serves as a

Derelict warehouses and abandoned workspaces

reminder that legacies often originate from

became unconventional yet communal homes for

humble beginnings, often without intentional

a newfound sense of community. In Manchester,

foresight to become ingrained. Even when

a once-naïve youth movement transformed into

modest in scale, a legacy has the capacity to

potent force. In answer to “why not Manchester”

embed itself in culture. Over time, it not only

perhaps we can pose the question: how could it

endures but expands, persistently providing

be anywhere else but Manchester?

solutions to the challenges and adapting to the changes we encounter. The tree grows.

Aviva Studios poses an authentic response to

The essence lies in the interplay between the

the regional institution-shaped gap, drawing on

initial, perhaps unassuming, inception and the

the expertise of Peter Saville (Factory Records

sustained, influential growth that resonates,

Alum), Ellen Van Loon of OMA Architects,

offering ongoing responses to an evolving

and Jeremy Coysten, North Partner, Creative

landscape.

Director.

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Living up to Legacy

© North + Peter Saville. Factory International.

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© North + Peter Saville. Factory International.

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Living up to Legacy

“Whether they knew it or not, Factory Records were future focused.’’ Jeremy Coysten, Partner at North Design tells us. “They did what they did because they knew it was good, original and brave, not because they were trying to please. This aligns with the spirit of Factory International and what MIF have been doing since 2007,” he adds.

“One of the most attractive things about [Aviva Studios] is that it builds on a past that was also my past,” Jeremy says. “I had memories I wanted to explore and learn more about. The collaboration caused many discussions about the origins of Factory Records and the Haçienda.

Wonderful moments that touched so many people. I would like to think that these anecdotes and memories are now a part of Aviva Studios — an invisible essence.”

From revolution to raves, activism to art, a legacy lives on within the ever-adapting space of Aviva Studios. Nobody knows what Factory International will become next, which direction their walls will turn. For the minds behind the endeavour, that is exactly the point.

Co-authored by Isaac Huxtable, Curator at Artiq and Sophie Viet-Jacobsen, Creative Designer at Artiq 1. Factory: Manchester from Joy Division to Happy Mondays. 2009. United Kingdom: BBC 4, 16 January 2024. https://www. youtube.com/watch?v=A-lDXeBueRk&ab_ channel=20%2C000LeaguesUnderTheBasss

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Artiq Annual Volume 2

Freedom in the Finite It’s always been the nature of artists to reflect the times in which we live. Molly Coffey speaks to two artists who, in their own ways, have found producing art and cherishing the environment needn’t be at odds.

At first glance, the work of Rebecca Newnham

for a conversation with them last November.

and Cyrus Mahboubian appear vastly different.

We settle into a spot amongst the open-brick

Rebecca, based in the Southwest of England,

archways of Cyrus’s studio, Maison Pan, the

creates faceted glass works, some stretching

once National Gallery vaults turned artist-run

up to seven metres tall. Cyrus, based between

studios and project space, which the British-

London and Oxfordshire, known for his

Iranian artist now co-directs. Amid a variety

contemplative approach to photography, makes

of artworks spanning painting and sculpture,

black-and-white photographs of remote

is an elegant curation of Cyrus’s works hung

landscapes with vintage Polaroid film to create

in his distinctive style. The original black

a timeless, atmospheric aesthetic. Distinct in

and white polaroids sit within wide white

medium and materiality is their art, and yet

mounts and black frames, provoking intrigue

striking parallels can be drawn between their

within the viewer. You must get closer, nose

practices, as I found out, when I sat down

almost touching the glass, to observe the

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Freedom in the Finite

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Artiq Annual Volume 2

landscape captured with a grainy vintage film.

Rebecca There’s no getting away from it -

A masterful eye and not only for that within

making art about the natural world is political.

frame; Cyrus has curated his works with

We’re in a climate emergency, and part of

reverence for both subject and artwork. His

our role as artists is to communicate what we

small prints are given a mystical quality, each

see and know - to keep the story engaging.

piece with space to breath accompanied by the

It is, after all, one of the big stories of our

aroma of scented candles.

time. When I was younger, I did just simply enjoy getting muddy and looking at the plant

Rebecca similarly seeks to capture the

world. The more you know, the more you want

characteristics of the natural world, in her case,

to know, don’t you? I’ve always taken time to

though sculptural glass works. Her faceted

meditate and spending time in nature is a kind

wall works aim to capture her encounters with

of meditation. Our world is so reinforcing and

nature, whilst her free-standing sculptures

allows you to just be. What about you, Cyrus?

abstract scientific ideas such as waves of energy and sound. Through a process of staining,

Cyrus I grew up in London and didn’t visit the

scratching, firing, cutting, and breaking,

countryside as a child. The first time I really

Rebecca creates colourful surfaces made up of

explored nature was at university which was

recycled glass that both reflect and absorb light;

the same time I was getting into photography.

their surface changing as the viewer moves

In Bristol, I could travel ten minutes and have

through the space, blending past with present.

access to the countryside. In the city, there’s a certain pressure, whilst photographing a

This is the first time Rebecca and Cyrus have

landscape, there’s no pressure – it’s very quiet,

met, and their conversation instantly flows

it’s still, it’s slower. These experiences brought

with curiosity for each other’s work. Almost

me so much peace and a sort of happiness

immediately, we establish that walking through

because it was an escape. Over the years,

nature is the main source of inspiration for

embracing a slower environment has become an

both their practices. Their art is an ongoing

important part of my life. I’ve discovered that

response to the elements they encounter, as well

I’m naturally someone who enjoys a slow pace

as the personal, political, and philosophical

and having time to reflect, which is less and

revelations they experience along the way.

less possible today.

Listening to Cyrus and Rebecca speak, I feel an urgent desire to escape the city and into

Molly How do you know when you’ve arrived at

nature, not only for the sense of awe and

a place you want to capture through your work?

wonder a beautiful landscape can give you, but also a renewed respect for the environment,

Rebecca The moment is significant somehow

its fragility, and our role to protect it. In a

– you just know. I try to embrace it in a holistic

world where technology fuels perpetual over-

way, to capture and set the scene within my

production, these artists prove there is freedom

work. I like to show multiple facets of an

to be found in working with limited resources

experience through a series. For example, the

in a way that celebrates rather than damages

Sacred Water series was based on a 10-mile

the planet. Before we delve into how they

stretch of a pilgrimage route. Each panel is

achieve this, I ask where the urge to capture the

about a particular encounter with a well that

landscape through art comes from.

hadn’t been used for an extremely long time

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Works by Cyrus Mahboubian 1. Cornish Nightscape/Nude (2023) 2. Nocturne I, Cornwall (2021) 3. A Seascape I, Dorset (2022) 4. Winter Trees, Oxfordshire (2020) 5. Horse/Cherry Blossom (2022)

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Freedom in the Finite

and was well hidden along the way. It was

take days, it’s actually quite an energetic and

this time last year, on the shortest day of the

creative process at stages. If the piece requires

year, when I walked the route with my glass

a lot of water, I might be moving that around,

jars ready to collect water. Different mineral

splashing things. There’s an intensity at the

compositions influence the outcome of the

beginning. I know what I would like each work

firing, which is crazy! The Sacred Water series

to capture the feeling of. I try and retain that

are very white, and this negative space allows

freshness. Unexpected things happen in the

the other colours in the water to come through.

process, which I embrace.

Cyrus For me, walking itself has become a

Molly You are both mindful of your impact

meditation - an escape from digital culture.

on the planet. Some might ask whether artists

I often say my work is a reaction to digital

should be producing at all. What would you say

technology and the ways it has become so

to that?

ingrained in our lives – it dominates. We’re totally at the mercy of technology. I love the

Rebecca I feel very passionate and have had

unique aesthetic of the vintage film I use, but

many conversations with artists, particularly

it’s no longer in production. I have to seek it out

sculptors, about this subject. At the Royal

and try to find old, unused packs. I’m forced to

Society of Sculptors, we regularly debated the

be selective and careful because the material

ethics of using finite resources within our

is so finite, and I can’t afford to waste. On my

work. We have concluded that whilst it’s our role

walks, I’m always observing my surroundings

to be careful with materials, it’s also important

carefully. If I don’t get that ‘feeling’ I won’t

to capture and communicate what it is we

make pictures – it’s just become an instinct.

want to say - it’s a lot of pressure.

It’s the only time I’m really part of the environment, the landscape, and very attuned

Cyrus Right! Using limited materials is a lot

to it.

of pressure, but on the other hand, has brought so much meaning to my work. It’s enhanced my

Molly For both of you, the process of making

experience – I look at everything much more

work is slow and meticulous requiring a lot of

carefully than otherwise I would. As well as

focus and discipline. How important is pace to

being precious, the film is very unpredictable

your practice?

because it’s so many years past its expiry date.

One pack might be great, the other unusable.

Cyrus My practice is intentionally slow because

Occasionally I’ll get lucky, the quality will be

I’m seeking an escape from the fast pace of

brilliant, and I’ll be able to capture details.

everyday life. As a result of the film being so

But honestly, over the years, this has become

limited, I’ve started to make collages using my

less and less important to me – using vintage

own existing body of work from the last seven

film is part of engaging with the landscape

years. This process is similarly slow, considered,

in a meaningful way.

and meticulous. Pace is crucial to my work.

Molly Rebecca, have you always had a Rebecca Like you Cyrus, my work defines its

consciously sustainable practice, or has it

own pace. In the studio, whilst there are time-

become accidentally eco-oriented?

sensitive points such as drying periods that may

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Artiq Annual Volume 2

Rebecca This is an interesting one. When I was

completely inhibited by how precious they

doing my masters, I was fascinated by mosaic.

were. So instead, I used all the scrap glass

The Venice Biennale was a huge source of

and coloured it with glass enamel which is

inspiration for me, with its amazing churches

something I do to this day.

encrusted with fabulous mosaics. I went to a fantastic shop that sells Italian mosaic and

My work is an expression of an experience, so

chose several beautiful materials but later

I must feel free to experiment with it. I also

found I couldn’t use them in my work. I was

collage, cutting pieces of glass and arranging

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Rebecca Newnham, Quercus Edition 2022. Image courtesy of David Bird.

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Rebecca Newnham, Rise, 2018. Image courtesy of David Bird.

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Freedom in the Finite

them to emulate the flowing lines and light

it’s incredibly light and robust – perfect for

reflecting on the water. It was in Venice that I

outside, where much of my sculptural work

realised you could place a red tile next to a blue

exists. I’m enjoying making work for interiors

tile and from a distance they merge, and the

now because durability is less of a concern -

colour vibrates. While on that, I’d love to learn

you can have a lighter touch.

more about your approach to collage, Cyrus?

Cyrus I’m really enjoying the intimacy of Cyrus Well, in the early days, I was much more

small-scale works. I like to translate this

of a purist and believed photography was a

meditative experience to the viewer. Some

literal representation of an experience - you see

Polaroid artists blow their images up large for

a landscape, you want to capture that landscape

exhibitions, whereas for me, it’s always been

exactly. Now, I’m increasingly playful and

important to show the original photographs

experimental in my practice. With time comes

because it forces the viewer to look at them

confidence and you become more competent

closely. You must stand close to them and

with your materials. At first, I just I wanted

analyse the detail. It’s a way of encouraging the

to reuse the imagery and continue making

viewer to slow down and absorb some of that

work with that aesthetic. Then I started really

energy with which the work was created. Large

enjoying bringing in a surrealist quality, taking

works demand your attention, whilst small-

my photography in a new direction. I would

scale photographs draw you in. This is also why

look at the different halves of images and try

I choose to frame with a lot of negative space

to find a visual relationship or harmony. Like a

around the image, because this contributes to

memory, my collages evoke a kind of ‘blending

the intrigue.

together’ of an experience. I take a lot of pleasure in creating these small, meticulously mounted collages, and being more playful with

Molly Coffey, Curator at Artiq

the format.

Molly Talk to me about the finished work, and the ideal context in which you feel your art should be seen?

Rebecca My glass panels have a curved surface.

This might be rippled or a concave in an aim to try and capture the motion of water. I really like them to hang in spaces where they have a relationship to other objects and lots of light, which brings them to life. In the beginning, I was very inspired by Vermeer and the ways in which he embraced that which was available and used the lens to capture his subject with accuracy. When I create three-dimensional sculptures, I use a wire mesh system and then a blender. In the past, I’ve used fibreglass because

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Artiq Annual Volume 2

The Future is Fatoş A leading voice in contemporary art and a fervent advocate for artists' rights, Fatoş Üstek is constantly breaking new ground. For Volume 2, she joins Patrick McCrae for a frank conversation about the necessity for change and what we must do collectively to get there.

Patrick I wanted to start this conversation

Fatoş We can all craft various narratives from

by thinking about the narrative arc of this

our history, so I don't have just one. There's my

interview and aligning it with the narrative

so-called professional journey, with what people

of your personal story. Some things I have

refer to as milestones—projects I've been part of

gathered from reading about your professional

or initiated. But I believe there's another story,

life, from judging the Turner Prize to the 4th

which is more about character. So, ask me again:

Plinth, chairing the New Contemporaries, and

what do you really want to know? Because

lately, curating Frieze Sculpture - it's quite

like you say, the facts about what I've done are

the list of accomplishments! Then, there's this

already out there.

interesting twist with your background in mathematics, you studied maths in Istanbul,

Patrick I'd love to hear about breaking through

Turkey, and were on a path to a career in

[into the art world] rather than the accolades.

engineering but eventually found yourself in

As you say, the accolades are already out there,

the arts. Your journey is almost the opposite of

and they speak for themselves; you don't get

what we often hear: many study art and aim

to curate at Frieze Sculpture without already

for a career in the arts but end up working

being somebody. What was your breakthrough

somewhere wholly different. This early

moment?

influence came through in your curation at Frieze Sculpture, for example, in how you spoke

Fatoş One thing that has been very prominent

about the lines of sight between artworks. So,

in my journey is passion. I discovered my

can you take us through your journey? What is

deep love for art in college, and that was

the Fatoş history?

something I didn't know about myself before.

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The Future is Fatoş

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Lindsay Seers, No Money is Included, 2022 (video still). Courtesy of the artist.

It led to a sort of double life for a while - I

the contrast was so interesting. I sometimes

was a maths student but also working for and

reflect on whether I could have become an

being involved in newly forming initiatives

artist, and I think the answer is no. Early on,

and platforms, like the first contemporary art

I believed I lacked the creativity that artists

gallery in Istanbul. It was a passion I did not

had, but now I think it might have been more

know I had in me until I exposed myself to it.

about lacking the courage. Coming from quite

It started with photography, then film. I was

a traditional family, the breakthrough moment

so intrigued by the creative force, which felt

happened when I started building trust in arts

much less controlled than the maths I studied;

as somewhere I could realise myself. So, my

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The Future is Fatoş

journey started with self-realisation. I needed

stumbling upon a work by, let's say, Yinka

to learn who I was, and visual arts became

Shonibare. Are you trying to light that same

lenses through which I could proliferate my

spark in all of us?

worldview.

Fatoş You always bring your character traits to Two decades in, I've become less important in

everything you do in life. I am never satisfied

my journey. My focus has shifted towards being

with what's given. If someone says, 'This is

there for and supporting artists and aiding the

it,' my response is, 'Is there anything else?' In

birth of artworks. The recent Frieze Sculpture

college, they taught mathematics as if it were a

edition showcased things that had never been

given, so I became intrigued by incompleteness

done before within that context, and that

theorems, essentially proving that 'this is not it.'

excites me!

The same approach applies when I am curating, and it's becoming my curatorial signum of

There's a beautiful Derridean concept

sorts. I like pushing the envelope, discovering

called 'the Unthought', in which he refers to

new things, and incorporating them into the

philosophy exploring areas that have not yet

equation. But I also love to grow things, seizing

been considered or given thought. Successors

their potential and ensuring they are nurtured

will identify the gaps, add to them, and change

and nourished to evolve into something else. If

the outcome. This is how I approach curation.

I had stayed in mathematics, I would have been

And this is another connection to mathematics:

less able to do this. The fact I can play and push

I was always interested in topology, what you

boundaries is my foil.

mentioned before as sight lines. When things are placed in new constellations, what does it

Patrick Staying on the theme of not being

create? They come together to contribute to a

satisfied with the state of things, what you are

larger conversation - a dialogue instead of a

doing with FRANK is very much in the same

monologue. This conversation can extend to

realm - challenging the status quo. Only in the

the site itself, which is why I find the public

last few years has the conversation about fair

realm more interesting than a white cube space.

pay for artists risen to the top. I'd love to know

It's less controlled and more agile. That's what

more about FRANK, how it came about, and the

curating is about for me.

work you all are currently doing.

Patrick Listening to your story - initially

Fatoş The conversation started organically with

steering towards mathematics but discovering

Anne [Hardy] and Lindsay [Seers], the two other

art and the self-actualisation that happens

co-founders of FRANK. And my interest in

when you do - that moment feels similar to the

fair pay culminated while I was still working at

work you're engaged in within the public realm.

the Liverpool Biennale and had engaged a few

For instance, at Frieze Sculpture in the Regent’s

trustees to re-work the artist payment terms. I

Park, there's an audience like me, eagerly

was unhappy with a flat fee for all artists that

joining a tour at 8 in the rain, discovering

didn't consider whether they had spent nine

exciting new artists like Amy Stephens.

months creating a new commission or showing

However, there's also an audience strolling

an existing work that might just have been

in the English Gardens on the weekend, not

slightly altered. It didn't seem fair. A crucial

anticipating encountering art but possibly

aspect for FRANK is that today, everyone talks

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about the need for diversity, inclusion, and equal

and more. Without recognising these factors,

opportunities. Economic parity is a significant

we can't make the shift towards fairness. Fair

part of this that often isn't addressed. It's not

practice isn't just about remuneration; it also

just about class but also the opportunities

involves fair working conditions, fair contracts,

you provide. If you want to showcase a single

and fair representation. FRANK addresses

parent or an artist with caring responsibilities,

all of this in our founding principles and in

they can't afford to give up a paid job for

the artist questionnaire we're developing with

a poorly paid exhibition project. Without

Canvas Art Law. It's not a contract in itself, but

addressing this, you can't really talk about

it can serve as the foundation for one. Artists

diversity. Another essential aspect is the need

and whoever they are working with - whether

for a mindset shift across the globe to start

curators or directors - can use it when initially

recognising artists as professionals.

agreeing to work together. Everyone will understand the terms: timelines, production

Currently, the sector in general positions artists

budgets, expectations from each party, payment

as workers, justifying a minimum or living

schedules, and so on. When translated into a

wage. For instance, Arts Council England

contract, it should build more trust and leave

recommends minimum living wage fees for

less space for abuse.

artists; in other places, artist rates are equated with teaching rates. While artists teaching

Patrick One of the things we touched on earlier

in a school should be equated to teachers, if

is that the art world doesn't talk about money.

they are invited and contracted as artists,

For young people leaving school in their late

they must be recognised as professionals and

teens or early twenties, they compare the pay

receive professional rates. Some countries

brackets and career trajectories in the art world

and organisations are well ahead in this,

with other sectors. Many end up following the

like Finland and the Netherlands where

money, causing a significant issue in terms of

artists receive a professional wage (at times

representation for the sector, not only among

in alignment with designers and architects).

artists but also among art professionals. In the

FRANK is not developing a new rate

UK, over 90% of the creative workforce comes

scheme, but we are creating a conceptual

from advanced socioeconomic backgrounds

fair pay calculator to unpack the process of

because of the perception that creativity doesn't

commissioning an artist or showcasing an

pay. How can we attract the next generation of

existing work.

talent to the art world?

Patrick That sounds intriguing! How will it be

Fatoş We started as an organisation focusing

applied, and what exactly will it calculate?

on artists, but it needs to extend to all creative practitioners. Due to the low salaries, only a

Fatoş It will demystify what it truly means

specific group of people can afford to take these

when you want an artist to create a new work

jobs. Suppose we think of systems as pools.

for you. The calculator will break down exactly

When you swim in them, you get used to it;

what you're requesting from them. It's about

eventually, you don't see, feel, or think outside

breaking the barrier of not fully understanding

of it. We need to change the system; we need

what an artist does, the time required for a

to change the business model. Currently, it's a

commission, the research involved, the labour,

dependent business model relying on external

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The Future is Fatoş

Yinka Shonibare CBE RA, Material (SG) IV, 2023, Stephen Friedman Gallery. Frieze Sculpture 2023 Photo by Linda Nylind. Courtesy of Linda Nylind/Frieze.

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The Future is Fatoş

funding with many strings attached. It might

concept of a public institution in the West

be a radical suggestion, but we need to strip

is yet to be viable. We are already pressed to

away from that lineage of power dependency,

become private operators within the framework

and from that, more autonomy and agency

of charities. This spring, I have a book coming

will follow. But before we can change the

out called 'The Art Institution of Tomorrow:

model, we need to change the mindset. Most

Reinventing the Model,' where I suggest a new

of our institutions operate with a degenerative

idea of a model that, in many ways, abolishes

mindset (borrowing the term from economics),

the current structures of institutions. But I'm

expecting to invest the minimum but gain

not saying this is the model; it's just a model.

the maximum output. We operate in a very

For me, that represents the future—a space

precarious sector. Compared to other industries,

where many different models can develop or

business or entrepreneurial models, the art

emerge.

sector is operating with much emotional and financial precarity.

Patrick Final question: how can we get involved - artists, organisations, institutions?

Patrick You talk about changing the funding model - one of the things that I have tried to

Fatoş They can become members. We've now

demonstrate with Artiq is that you don't need

opened it to all creative practitioners, from

external funding to run an arts organisation;

creators to critics. We've set nominal rates

you don't need venture capital or the Arts

(£16 for artists; £32 for young galleries/

Council. But in the process, we have been party

organisations; £256 for public institutions per

to certain snobbery due to our partnerships with

year) because we want to build a community.

the commercial world. To me, these forms of

Workshops and online forums will be available,

collaborations or partnerships are very obvious

and the tools we're developing can be accessed

funding routes for the arts. Is there a future

through our membership platform. FRANK

where the art world would work together with

is not an artist organisation, and we're not

more corporate and commercial partners? Is

a public institution. We are one approach

there an element of needing to let down some

to finding a solution, believing in rising up

barriers for that to happen?

together to improve the practice. We want to create a space where everyone has a seat at the

Fatoş It's crucial to recognise that there are no

table - artists, directors of institutions, funding

public institutions left. In the 1980s and 1990s,

bodies - to collectively ask ourselves how we

almost all institutions received the majority

can all do better together.

of their funding from the Arts Council.

That's no longer the case. Today, institutions are being pushed toward a mixed economy model, with most funding coming from private

The Art Institution of Tomorrow: Reinventing the Model by Fatoş Üstek is due to be published by Lund Humphries in April 2024.

sources. A big problem for institutions today is the extensive efforts put into fundraising around 60% of the labour force is dedicated to fundraising activities: gala dinners, funding applications, reporting to funders, patron events, merchandise, and more. It's a lot! The

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For What it's Worth How do we measure impact? Meela Thurloway explores concepts of value associated with investing in art that goes beyond ownership.

The essence of art transcends ownership,

value. Economic worth is linked to supply

serving as a dynamic lens for interpreting

and demand, while cultural value, rooted

our ever-evolving world. Artistic expression,

in societal significance, impacts economic

rooted in storytelling - not trade - has been the

value. Recognising art's power to tell stories,

driving force for collecting for millennia. In

encourage human connection, and foster

ancient Greece and Rome, art signified status;

community introduces an alternative metric:

the Renaissance connected it to intellectual

social impact.

pursuits; the 17th and 18th centuries saw art markets emerge; the 19th century introduced

Embracing art for social impact is not merely

public museums, and the 20th century brought

a value proposition but a strategic imperative

investment motives. Today, motivations for both

for businesses. Michael Blake, recipient of

creating and collecting art continue to evolve.

the Public Sector Impact Award at the UK Real Estate Investment & Infrastructure

The art market is a complex cultural

Forum (UKREiiF) 2023, brings over a decade

constellation, requiring nuanced consideration

of expertise in social value and community

of economic and cultural dimensions to assess

wealth building. As the Founder of The Impact

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For What it's Worth

Hidden Moon by Ralph Hunter-Menzies, leased to EQT London.

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Artiq Annual Volume 2

Birth of Pandora by Suzi Morris, leased to EQT London.

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For What it's Worth

Sanctuary, a network supporting organisations

thus, enduring positive social impact.

focusing on purposes beyond profit, Michael asserts that “successful businesses must

EQT, a purpose-driven global investment

embed social impact into all aspects of their

organisation, partnered with us to develop

operations.”

an art strategy reflecting its commitment to sustainability and local talent. Their

The social (‘S’) aspect in the ESG

inaugural London art collection supports over

(Environmental, Social, and Governance)

20 emerging local artists, ensuring a regular

framework is gaining prominence, having

income throughout the leasing period. 90%

previously taken a backseat to environmental

of our clients, including EQT, rotate their

considerations. Michael underscores the

collections annually, meaning different artists

“growing importance for organisations

are being paid and their works are shown to an

to establish a process and framework for

ever-growing audience. This initiative forges

measuring positive social change. Whether

a genuine connection between businesses and

through quantitative or qualitative approaches,

their locale, fostering a dynamic collection

organisations bear the responsibility to play a

adaptable to evolving brands and societies.

pivotal role within communities, broadening perspectives and considering the long-term

Recognising the value of strategic investment

legacy of their actions.” Integrating social

in leasing art for businesses, Philippa Wagner,

concerns into sustainability strategies is

Founder and Creative Strategy Director at

essential, with many arguing that one cannot

PeoplePlacesSpaces, incorporated this approach

be successfully addressed without the other.

into the strategy for the concept hotel MM:NT

Applying the notion of art's social impact

Berlin Lab. Philippa identified the opportunity

to another pressing issue - rethinking our

to lease work from emerging Berlin-based

approach to consumption - a circular model

artists as an empowering way to support the

provides a unique opportunity to leverage

local creative community, aligning with the

art's power to connect and build resilient

hotel's commitment to conscious hospitality.

communities without necessitating the

She believes that “hotels no longer serve the

production of something new.

sole function of a place to sleep; they serve as access points to the location, functioning as

Leasing art transcends traditional ownership

hosts, guides, and curators of experiences.”

models, providing sustainable support across

The narrative of interiors matters more than

the arts ecosystem. For artists, it enables income

ever before.

diversification, fair pay, and contributes to a circular economy by exhibiting artworks that

Emphasising that “meaningful connections are

might otherwise be confined to studios or

forged through active engagement,” Philippa

storage. Lessees highlight benefits, including

believes that “supporting local communities

meaningful storytelling about who they are

is crucial for the future of hospitality, and

and what they represent, as well as aesthetic

art is an excellent way to achieve that.” While

and financial flexibility. They also emphasise

some elements at MM:NT will be standardised

the advantages of broader impact through

globally, the art provides a unique opportunity

ongoing connections and opportunities for local

to immerse guests in the distinctive character

creatives, fostering community cohesion and,

and stories of the area. Their approach commits

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Artiq Annual Volume 2

MM:NT Berlin Lab is due to open in the spring of 2024.

to collaborating with local artists annually,

artists, such as Yi Ling Lai, who reflects: “I

infusing the space with the distinct vibe of

wasn't entirely sure when deciding to engage

each location. It's not merely about decoration;

in art leasing initially, as I had not experienced

it's a platform to share these stories and create

this approach before.” Ling, who graduated

authentic experiences for their guests.

in 2021, adds: “While the benefits I currently derive aren't enough to sustain my livelihood,

For emerging artists, interacting with clients

it's a new way to generate continuous income.”

and collectors is a valuable opportunity to gain

Income security from leasing enables artists

insight into commercial appetites. London-

to reinvest in creating new works to evolve

based artist Kristina Chan has been exhibiting

and establish their practice, crucial for those

in commercial galleries since 2013 and started

the early stages of their careers. Last year, we

leasing her work simultaneously last year. She

paid over £2.3 million to artists and makers,

says “It allows you to circulate artworks no

underlining the crucial role of innovative

longer on tour or larger pieces that don't always

approaches like leasing in sustaining the arts

have the venue or opportunity to be shown. It's

ecosystem.

a great way to introduce your work to a new and wider audience and allows it to be seen in

Shifting from the individual perspective to the

various settings and across industries.”

wider cultural sphere, we reflect on evolving motivations for creation and collection,

Leasing art diverges from the traditional artist

including businesses as active community

career trajectory and is a new process for many

participants. Art, viewed through the lens

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For What it's Worth

Artist Yi Ling Lai in her studio.

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Artist Kristina Chan in her studio.

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For What it's Worth

of social impact, challenges the notion of value solely from possession, expanding the concept of investing in art beyond ownership to cultivate a broader legacy. Art leasing emerges as a contemporary and inclusive cultural investment, supporting a sustainable creative economy. It represents an outwardlooking cultural initiative, providing ongoing support for artists in early career stages and contributing to vibrant communities, creative spaces, and enriching local cultural landscapes.

Meela Thurloway, Lead Art Consultant at Artiq

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Ana Benavides

Anna Higgins

Ones to

Watch 44

Ones to Watch

Ben Topping

Jesse Akele

Every summer, London welcomes an artistic

and presents a vital opportunity for artists

renaissance—a reinvigoration of the industry

and curators to establish the trajectory of their

and an opportunity for emerging talent to

future careers. From the blood, sweat and tears

flourish. Across the capital, hundreds of degree

of its students, these shows are a one-stop-shop

shows feature the works of students from a

for the country's most exciting emerging talent.

variety of undergraduate and postgraduate

Amidst this cacophony of creativity, we have

courses. These exhibitions represent a diverse

identified four rising stars from masters'

range of creative disciplines and are a

programmes across London. From the RA

testament to the dedication and artistic fervour

to City & Guild, these emerging artists are

of their graduating classes. The yearly influx

redefining artistic narratives and pushing the

of talent is invaluable to the creative industries

boundaries of traditional expression.

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Artiq Annual Volume 2

Ana MA Painting, Royal College of Art

Benavides 46

Ones to Watch

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Ones to Watch

Inspired by the textiles, landscapes and the nature of her hometown of Monterrey, Mexico, Ana Benavides is an artist born with colour. She characterises her practice by texture, gesture, and colour, and having grown up in Mexico, she is well acquainted with all three.

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Ones to Watch

She is also no stranger to hard work and

give up”. She continues, “If you really love what

determination. Having studied a BA in

you do, and you do it with passion and love, I do

Advertising and Marketing, Ana's MA was an

believe it's going to pay off.”

opportunity to unleash her creative practice.

“When I finally graduated, I said to my

Ana's passion is not only evident, it's infectious.

parents, I'm doing painting now. I don't care.

She works with a focus, fervour, and fluidity far

This is what I love.” The MA was a valuable

beyond her years. Reflecting on the impact of

opportunity for Ana to develop her practice, and

her paintings, she says, “I feel nowadays we're

the large-scale, gestural works she now creates

in a society, and in general in a world, where

are far removed from the pop art influences

we never look within. We never hear intuition”.

she began the course with. When asked what

Encouraging us to reflect on our emotions,

advice she would give other recent graduates,

she reminds us of the simple power of art:

Ana's determination emerges yet again. “Keep

“Expression as a way of liberation”.

working your ass off every single day, and don't

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Ones to Watch

Anna The Royal Academy Schools

Higgins 53

Artiq Annual Volume 2

Love Theme, 2023, multiple exposure positive film on Somerset Paper, archival varnish, 129cm x 179cm.

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Ones to Watch

Anna Higgins's expanded photographic practice explores our interpretation of image. Informed by early photographic practices and the history of experimental film, she allows process to dictate the outcomes of her imagery. The resulting work is surreal, beautiful, and frustratingly ineffable.

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Artiq Annual Volume 2

For Anna, imagery is a universal, non-verbal

and to make whatever you want”. This openness

language that transcends our understanding

has become a part of Anna's practice. Rather

of past and present. She explores forms and

than pointing to something beyond the image,

symbols that have existed since antiquity and

our understanding of her work should be

is fascinated by their ability to communicate

latent within its picture plane: “I want people

throughout time. When asked for examples,

to experience the work how they want to

Anna quickly answers, “The sun, light, colour”.

experience it, with a radical feeling that there

These forms are evident in her work and

are no right answers.”

serendipitously reflect the basic requirements for the analogue and digital processes that

With no right and wrong interpretations of her

make up her practice.

work, Anna makes way for a beautiful piece of advice. Given to her by an older artist and past

Compared to the theoretical, post-modernist

mentor, she tells us: “Make work for ten people.

approach of her undergraduate, Anna's time

Just have ten people you know care about your

at the Royal Academy was marked by

work, who are interested in it, and don't care

receptivity and material experimentation,

what the rest of the world thinks. Just think

“a radical openness to do whatever you want

about those ten people.”

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Ones to Watch

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Ben MA Printmaking, City & Guilds of London Institute

Topping 58

Ones to Watch

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Ones to Watch

Inspired by the process of ruination, Ben Topping's work explores history and decay; his practice reconstructs narratives from heritage sites and derelict buildings and encourages us to find beauty in fragmentation and deterioration.

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Drawn to printmaking during his BA, Ben's

Ben's scrutiny for over a year and, alongside

work is heavily influenced by process. “The

Porchester Castle, is the ruin he would most

whole idea of printmaking is you're etching

recommend to others. Sharing his captivation

into a metal plate, so I'm physically destroying

with these decrepit sites, Ben explains their

the surface of the metal to create an image

unique ability to evolve and shift. Their

of something that's been destroyed. It's like

existence across many periods of time makes

using erosion to depict erosion”. It is for this

them universal - they can so easily be “distorted

reason Ben believes in the mutual conversation

and implemented into different areas of fiction

between artist and artwork. He is not only

or history or painting”.

open to but informed by the influence of his materials and processes. Though he had

When asked what advice he would give recent

previously worked with casting and 3D

graduates, Ben's answer is simple: “Don't forget

printing, his time at City & Guilds introduced

to make artwork! So many people come out of

bronze casting to his practice. Much like

art school, stop for too long and then forget that

printmaking, he was drawn to the specificity

they can be an artist. Do whatever you want,

and order bronze requires, and the medium

just don't forget that you enjoy art.”

quickly influenced his study of Corfe Castle.

Located in Dorset, Corfe was the subject of

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Ones to Watch

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Ones to Watch

Jesse MA Painting, Royal College of Art

Akele 65

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Personal, colourful and well-composed, Jesse Akele's paintings are a testament to her ability for storytelling.

Even when abstracted from the moments that inspire them, Jesse has an incredible capacity for capturing truth.

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Ones to Watch

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Ones to Watch

Raised between South London and West

It wakes you up every time you come out of

Yorkshire, and trained in theatrical naturalism,

your studio”. This ever-changing environment

Jesse is inspired by observation. She is

forced Jesse to think more critically about

fascinated by how our mannerisms and

her practice, and she discovered a longing to

attributes vary and explores the effect of

imprint more of herself on her work. With her

mimicking those attributes back to us. Like

background in naturalism, she began exploring

the theatrical process of performance and

the psycho-physicality of performance and

rehearsal, this often involves intense scrutiny

painting. “When you're on stage, if you've got

of moments in time. Going from moment to

an impulse to scratch your face, you don't stand

moment and back again to understand and

there and look like you don't know what to

capture the essence of her image.

do. You follow the impulse because people do scratch their face in real life.” The same goes

To Jesse, her MA was an invaluable time.

for painting: “Eliminate the gap as much as you

Compared to the privacy of her home studio,

can between what you want to do and what you

the RCA was in constant flux. “Every time

actually do”.

you walk down the corridors, someone's doing something completely different to what they were doing yesterday.

Riki Auton, Marketing Executive at Artiq

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Artiq Annual Volume 2

Phineas Harper looks at art that goes against the grain of capitalism and commodification, exploring alternative pursuits that prioritise personal and planetary well-being over GDP. 70

Monuments of Meaning

In 2014, Russian artist and architect Alexander

existence has a built-in time limit making

Brodsky made a series of wall-mounted

their economic value under the conventional

sculptures depicting the facades of imagined

calculus of late capitalism ambiguous. Many

imposing buildings with windows and cornices

think that ecological art is about materials –

scratched into slabs of unfired grey clay.

sculptures carved from carbon-sequestering

Gradually cracking and flaking as they slowly

wood rather than cast in bronze at energy-

dry where hung, eventually the sculptures will

guzzling foundries for example are, in a way,

crumble. A jibe at the fallacy of permanence in

one answer to the question of sustainable art

architecture? A note on mortality? Or perhaps

production. But the bigger and infinitely more

a cantankerous challenge to the Art World

exciting opportunity is to explore art’s power

and the economics of how contemporary art is

as a component of the global economy driving

bought, sold and speculated upon.

climate breakdown, and to imagine what role it can play in shifting and provoking change.

Since the 1930s, economic expansion expressed in a growing Gross Domestic Product (GDP) has been our main method of measuring national success. However, GDP growth has little bearing on true social health. When economists say “Britain is the sixth richest country in the world” they don’t mean its citizens have the sixth best access to resources enabling them to live healthy, long and fulfilling lives, they merely mean the tradeable value of all the products and services produced in the UK adds up to more than in other states.

In fact, as has become starkly clear in recent decades, GDP growth is driving increasing energy consumption, extraction of natural resources, and greenhouse gas emissions, all accelerating environmental collapse.

Redesigning the global economy to prioritise culture, well-being, and ecology over the pursuit of GDP growth, is now a fundamental

Alexander Brodsky, Untitled, 2014, unfired clay, 84 x 76 cm.

Courtesy of the Artist and Betts Project.

challenge facing every corner of society including the Art World. How art should adapt and learn from degrowth and circular economics, is an urgent and exhilarating

Art, often, is seen as an asset; a thing we buy

conundrum.

and own as an investment which can be sold on in the future (perhaps at a profit). But Brodsky’s

In 1986, Esther Shalev-Gerz and Jochen Gerz

fragile facades have no future; they are on a

made their own disappearing artwork. Their

one-way journey to dust. Their disappearing

Monument Against Fascism in Hamburg-

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Esther Shalev-Gerz and Jochen Gerz, Monument against Fascism, 1986, Permanent installation, Hambourg-Harbourg, Germany, installation view, 1986, © Atelier Shalev-Gerz.

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Monuments Articleof Title Meaning

Harburg began as a 12-metre steel column upon

Tattoos are economically bizarre investments

which residents could carve messages of rage,

because as soon as you've bought one, you can

fury, love and loss into the lead-faced exterior.

never sell it. No matter how famous the artist

As each section became saturated with writing,

or how elaborate and costly the piece, a tattoo,

the column was incrementally lowered into the

once drawn, has no resale potential. If an NFT’s

ground until, in 1993, the artwork disappeared

value is entirely about its price, a tattoo’s value

entirely. As stated on the invitation panel, “In

is entirely about its meaning.

the long run, it is only we ourselves who can stand up against injustice”.

It’s not just tattoos and Brodsky’s crumbling facades that refuse to play nicely with the

Today the monument is effectively gone,

conventional rules of economic exchange. In

buried along with eight years of outpoured

fact, the value of many rewarding activities are

grief. Yet its self-destruction – the very fact

impossible to recognise through the limited

that it doesn’t linger on like the statues of

framework of GDP. Faith, prayer, meditation,

dead slave owners and military generals

gardening, gossip, amateur sports, long walks

which litter our public realm – makes it all

in the countryside, many hobbies, spending

the more meaningful. Clearly, not all art needs

time with friends and family, romance, sexual

to physically endure as a potentially tradeable

pleasure and play are all examples of things

commodity to wield value. Untangling art

humans pursue and find deeply nourishing

from the logic of consumerism in a post-

which produce little or no economic output

growth economy could be a rich and expansive

but are at the core of a good life nonetheless.

challenge for ambitious artists and curators to

A Britain in which everyone worked several

explore.

hours fewer per week but spent more time appreciating art, experiencing nature and

By contrast, the visible rise and fall of Non

getting laid instead would certainly have a

Fungible Tokens (NFTs) reveals the cultural

smaller GDP, but its citizens would undoubtedly

dead end that awaits art which centres its

be happier and healthier than they are today.

purpose entirely on ownership and trade. The 10,000 “programmatically generated” cartoons

Impossible to sustain in the long term and

which make up the Bored Ape Yacht Club

harmful in the short, the pursuit of perpetual

NFT collection, for example, have contributed

GDP growth will eventually come to an end.

gainfully to GDP growth, but are otherwise

By testing and embodying forms of value that

phenomenally banal; their derivative design an

transcend the logic of GDP entirely, art and

emaciated shadow of Jamie Hewlett’s artwork

artists cannot just be part of, but help define

for the fictional pop band, Gorillaz. The Apes

and shape, the truly sustainable ecological

have no cultural, aesthetic or philosophical

economy of tomorrow.

value – merely a cash value for how much of a given cryptocurrency they retail at – nothing more.

The opposite of NFTs are tattoos. For me, these indelible marks on my skin carry reminders of my roots and values but they are also totally

Phineas Harper is the chief executive of Open City and Open House Worldwide and a regular columnist at Dezeen and the Guardian, exploring the inter-section of architecture and politics.

Alongside writing, their work spans kinetic sculpture, film and print making.

worthless.

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Building a Better Tomorrow Emerging trends in the real estate sector suggest a move towards maximising social impact. An expert in this field is Grosvenor's Project Director Lucy Puddle, here in conversation with Tazie Taysom about shaping purposeful spaces for the future.

Tazie We're meeting today in Fivefields, a new

encompasses aspects of property finance and

impact-driven workspace on the edge of The

law as well as environment and philosophy.

Green Park and around the corner from Victoria

Initially keen to pursue a career in property,

Station. As the Project Director at Grosvenor,

I read an article about the gender pay gap in

you've been leading the development of this

the sector and that was a massive turnoff. So,

space - the latest in a series of impactful

I went down another route and qualified as

projects throughout Mayfair and Belgravia.

an accountant. Early on, I felt certain this

But interestingly your career didn't start in real

wasn't what I wanted to do long-term. Still,

estate; it began in finance. What can you tell us

I completed my qualification, hoping for

about your journey from where you started to

an opportunity to join a property company

where you find yourself today?

through the route of finance and transition to real estate. Eventually, I joined the finance

Lucy I graduated from University of Cambridge

team at Grosvenor, and after carrying out some

with a degree in Land Economy, which

project-related work there, I had an opportunity

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Building a Better Tomorrow

Florabelle by Jenny Brown at Fivefields.

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Now Everything's Vivid by Corinne Natel at Fivefields.

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to move to the development side. Principally,

me the tools and grounding to take on bigger

my role was in residential development, but

things. And then Eccleston Yards came along.

I quickly discovered that I preferred working

Hidden behind locked gates, it was a backland

with commercial spaces and in the public realm.

car park in an area adjacent to Victoria Coach

Initially, I felt I might lack the knowledge and

Station, unknown to most. A conversation was

skills compared to my peers, but development is

already happening about this forgotten space,

mainly about problem-solving, making timely

prompting Grosvenor to suggest this latent

decisions, and determining how to best add

area had the potential to be so much more.

value, be it financially, environmentally, in

It was an opportunity to create something

the community, or all three. I was fortunate to

exciting and quite innovative for us. The brief

begin with smaller-scale projects, which gave

emphasised maximising the use of existing

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Artiq Annual Volume 2

buildings as much as possible and to create a

However, Grosvenor's Sustainability &

new community that the existing communities

Innovations team is doing an incredible job

in Belgravia and Victoria could enjoy. Eccleston

distilling complex issues into actionable steps

Yard has transformed from an unknown place,

for each of us in our respective roles. As a

visible from the back gardens of only a handful

leader within our business, I feel empowered

of people, to a hub of restaurants, fitness

to do it. We're all on a journey of learning,

spaces, retail, and outdoor public space. Such

but with each project, we assess what worked

opportunities are rare to get in your career;

well and how we can do better. Take Fivefields,

it was incredible. Since then, my career has

for example; understanding the end users

naturally taken a path focused on commercial

shaped our design brief. The focus on social

and public spaces, leading me to my current

impact, accessibility, community fostering

project at Grosvenor Square Gardens. It's a

and providing a home for charities was clear

fantastic redevelopment of a renowned garden

from the start, which is unusual in my world.

in the heart of the West End in Mayfair—only

Whether designing the brand or constructing

the fourth time in its 300-year history that it is

the partitions, everyone embraced this vision,

being reimagined. Then there's Fivefields, this

creating a purposeful project, and it was

new co-working space created as a home for

evident throughout the process. Knowing that

charities and social impact organisations. This

charities supporting children and young people

project significantly accelerated my existing

would move into the space, we were able to

passion for inclusivity, accessibility, and the

forsee that many children and young people

environment, really shaping my thinking on

would visit. The space needed to feel welcoming

how we approach developments. As my career

and safe. All the colours in the building are

has progressed, I've been fortunate to seek out

deliberately chosen to be calming, with very

purposeful projects that clearly benefit people.

few patterns, and we've had feedback from a

I like contributing to change, seeing the fruits

wide range of people saying how it impacts

of my labour, and positively impacting the

their experience within the building.

communities I work with.

Tazie We've discussed the purpose-driven Tazie The projects you've been involved in,

nature of the building we're currently in. We're

be it by serendipity or because you have

a very purpose-driven team at Artiq as well.

intentionally taken that strategic direction,

What made the process of curating a collection

appear to be one step ahead of shifts in real

for this space particularly interesting for us was

estate sector priorities. While sustainability is

that, for the first time, we collaborated with an

hugely relevant in nearly every contemporary

external consultant who assessed the collection

development, topics like community engagement,

through a very different lens - one centred

accessibility, and inclusivity haven't gained the

on neurodiversity and potential triggers. The

same widespread attention. Yet, you've actively

outcomes were more far-reaching than I had

championed these aspects throughout each of

anticipated. What was this experience

these projects in quite rapid succession.

like for you?

Lucy I think this stems from having permission

Lucy It was clear to us that the art needed to

to drive it. At times, it's challenging to see

reflect community, environment, well-being,

how we as individuals, can make a difference.

and inclusivity. One of the co-founders of

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I Am Nothing And Everything at the Same Time and It's Me by Nuria González Alcaide at Fivefields.

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Re-imagining Grosvenor Square Gardens. Image courtesy of Grosvenor.

x+why, Phil Nevin, said: “If we've gone to so

Tazie Being part of the design process, we've

much trouble to create the art with this in mind,

observed the significant effort invested in every

we ought to sense-check it.” It was a great

step of the process. One detail that caught our

example of having aspirations and desires,

attention is the use of braille in all the signage.

but like with many things, we could only go so far on our own. We consulted specialists

Lucy This is a great place to pause to reflect.

in neurodivergence and asked if there was

We could say, “Oh, isn't it great that we've

anything triggering or overlooked despite our

written in braille”, but instead, let's ask: is it

efforts to get it right. And sure enough, there

truly effective for those who rely on it? While

was. Once they pointed them out, it was so

it may look good to those who can see it, is it

obvious, but they're things that you cannot see

serving the purpose to those who need it? In

without lived experience. Whether in property

hindsight, we now know that there are more

or art, many of us share similar backgrounds,

efficient signage options available today that

so having a diverse perspective is incredibly

better accommodate visual impairment. Again

valuable. No matter how hard you try, putting

- it's a continuous learning journey. We've set

yourself in someone else's shoes is not always

a high standard, but there's always room for

possible. My biggest takeaway from this project

improvement.

is that when designing for accessibility, consulting someone with lived experience

Tazie Reflecting on these learnings, what do

is crucial. While many things can be adjusted,

you want to carry into future programming?

getting it right from day one is much more

Will art and sustainability remain central

powerful.

focuses, or is inclusivity stepping to the fore?

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Building a Better Tomorrow

Lucy As a business, sustainability will always

become quite rare for me to be the only woman

remain a core focus. However, there's a growing

in meetings; if it happens, I notice it; it's that

emphasis on social impact and prioritising

unusual. The industry is fast-changing. Within

wellbeing. This shift is increasingly evident in

our organisation, I've noticed that childcaring

daily life and naturally extends to development.

responsibilities are more balanced today

I am currently working on Grosvenor Square

compared to the past. There's also increased

Gardens, and I'm trying to envision the end

flexibility for those with childcare duties,

result. As a user, what will the experience be?

potentially enabling more women to reach

If you are a child or elderly, what is the ease

higher positions. There's still some way to

of movement in the garden? How will it look

go, but there are now many more women role

in different seasons? The answers to all these

models than before.

questions impact how we design it. Given that this garden is likely to exist for the next

Tazie Sometimes, that's all it comes down to:

hundred years, it is a tremendous responsibility

when looking around, are you the only one?

and privilege. We're asking ourselves how

While on the topic of role models, what advice

the garden can be suited for its intended use

would you give to a young woman entering the

from day one, evolve while preserving its long

industry today?

and rich history, and how it can potentially serve as an educational space about wildlife,

Lucy You've got to like what you do. You don't

biodiversity, rainwater runoff – all these

necessarily have to love it but having a genuine

aspects. It's a huge opportunity. Something

liking and passion for your work makes the

that Fivefields taught me is the power of

biggest difference. I recently got some advice:

partnerships – it requires time, investment, and

you don't need to know everything yourself;

foresight. Trust is essential, but when you can

you can lean on people who do. Be open with

play to each other's strengths and collaborate

what you don't know and ask lots of questions.

as a team, remarkable things can happen. Now,

Surrounding yourself with great people from

for Grosvenor Square Gardens, we're engaging

whom you can learn is so important. If you're

with many experts in their fields – gardeners,

part of a great team, you could be doing any job

horticulturists, ecologists – to ensure we're fit

in the world and still find something enjoyable

for purpose.

to learn from it. Moreover, we'll always need places to live, work, gather, and receive care;

Tazie The real estate industry has traditionally

the built environment isn't going anywhere. So,

been heavily male dominated. You mentioned

if you're a young person in the industry, you

earlier how the gender pay gap in the industry

have an opportunity in real estate to make a

initially discouraged you. While there's

difference, to shape the world. Crafting spaces

significant progress, do you think there has

for people is a significant responsibility, but it's

been enough change?

also incredibly exciting.

Lucy Earlier in my career, the gender split within the business I worked in was relatively

Tazie Taysom, Commercial Director at Artiq

equal, but there were very few female partners.

At Grosvenor, there's an even ratio, and more women are stepping into senior roles. It's

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A t s 1 2 Century h c a o r p to p A Funding theArts 82

A 21st Century Approach to Funding the Arts

The old model is broken - a new approach to corporate art patronage is drastically needed. Amanda Parker says down with ego, out with gatekeeping; let’s reimagine a more equitable future of arts funding.

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Artiq Annual Volume 2

As the seemingly never-ending Sackler/

been to announce a redistribution over five

Purdue scandal stumbles its way to the Supreme

years of all its assets - and its closure. Why?

Court, it serves as a timely reminder of why

Because, in their own words, they “view the

arts organisations have grown more diligent

traditional philanthropy model as so entangled

in scrutinising the source of donations. It’s

with Colonial Capitalism that it inevitably

been almost a decade since high profile

continues the harms of the past into the

actors and artists led the creative sector’s

present”.

conscious uncoupling, with arts organisations rejecting gifts from funders with origins in

Conscious of the power-hold that exists across

pharma, fossil fuels and other sources they

philanthropic giving, Lankelly Chase have

deemed ethically questionable. The Sackler

decided to write themselves out of the picture

scandal represents – we hope - the nadir in

and instead foreground the social need they

philanthropic giving. The family itself still

seek to serve. There’s so much to learn from

has ‘legacy’, even though their name has been

such radical action.

removed from many of the arts organisations they’ve funded. But that legacy is far from what

Wouldn’t it be amazing to see a system

they’d set out to achieve in providing millions

emerge in the UK whereby philanthropic

of dollars to cultural institutions.

giving becomes detached from individual organisations, where the names (of companies,

Legacy remains the motivation for many, but

or persons) behind those gifts are dialled down,

it's high time philanthropists re-write their

and the impact of gift giving dialled up in

expectations around giving. Current global

public narrative?

trends indicate a need to comprehensively review the creative sector’s stance on donations

The truism (so well-known that it’s never

too.

mentioned in polite company) is that those with wealth surround themselves with wealthy,

Since George Floyd's murder in 2020, funding

or ‘trusted’ others. This can lead to a habitual

bodies have dialled up their desire to make

mistrust of those who aren’t perceived to be

grant-giving better contribute to social equity.

‘like them’ or already known to them. Wealth,

It’s been fascinating to see some grasp the real

like fame, can understandably make one

meaning of this: true social equity necessitates

uncertain of others’ motives. This not only

equity in decision-making.

makes for a delicate, oftentimes fraught space shared between both donors and development

Following this logic means a move away from

managers, it also means that the world of

the current grant-giving model that distributes

fundraising remains persistently, stubbornly

to the ‘needy’ according to the assessment of

lacking in diversity! Often, donors and grant

those positions of power.

giving bodies will speak to those fundraising professionals already known to them (so many

The Lankelly Chase Foundation has grasped

trusts and foundations state this explicitly) –

this in radical, game-changing style. Their

and many successful fundraisers would rather

response to this uncomfortable quandary has

pull their own teeth than share with others

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A 21st Century Approach to Funding the Arts

either contacts or funds established through

charitable giving from the UK’s largest listed

their own hard work - irrespective of the need

companies – a 17.5% drop over six years. And

they'd be supporting if they did. No time soon

compared to other causes, charitable giving

will they introduce others who, through their

to the arts has been hammered: arts data firm

social status or protected characteristic, are

Tessitura reported a whopping 25% drop in

less likely to know high net worth individuals.

giving to the arts since 2016.

The result, perversely, is that well-supported organisations, who already have donors with

By operating in a cultural sector that’s partially

deep pockets, become even more favourably

funded by the state, both observers and those in

placed to receive additional funds, and those

the sector have relaxed into the belief that our

working with marginalised communities

cultural engagement will be bolstered by the

remain perpetually outside the loop.

cushion of taxpayer’s money – but those days are, I suspect, numbered.

It doesn't have to be this way. What if, for example, 10% of every £1 donated to a named

The UK can't afford to rest on the laurels of

organisation by a named individual or company,

public funding. Public purse is shrinking fast:

was redistributed via a central fund, that

according to the Creative Industries Policy and

smaller organisations could not only access, but

Evidence Centre, England’s local authority

also collectively assess who would benefit from

spend – and therefore its investment in the

that giving?

arts - has fallen by more than 30% in the last decade.

Such an approach would make giving more equitable, less ego-centric, and have an

We need to get better at seeking private funds

additional benefit by democratising the nature

and embrace relationships with commercial

of fundraising itself, diversifying the decision-

investment opportunities. And this means

makers and improving the fundraising skills

getting our heads around the British

of marginalised communities in one fell

ambivalence about both commercial giving

swoop. This is entirely possible, and requires

- and receipt of such gifts. Those seeking to

a collective approach to social equity, led

greenwash their

by those large cultural institutions with the

dubious business narratives through cultural

highest profile, and the deepest pockets. Most

engagement, or raise profile and influence

philanthropists are open to the idea of seeing

through aligning with arts production, need

their gifts go further, and knowing their power,

to embrace the radical change that’s already in

could ask that a percentage of their gift is

train.

redistributed to those who don’t have the means to court them directly.

There is a sea-change in attitudes to giving.

And it’s one that true philanthropists will

The UK needs to reimagine arts funding.

embrace wholeheartedly. It’s one where

Just as public funding has declined, private

status and recognition are removed from

investment has also atrophied: in 2023 the

the act of giving, where donors are not just

Charities Aid Foundation reported a decline in

content but delighted to not be named in

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the programme, above the gallery entrance,

A small sum by many standards, from donors

or on the donor’s wall. Where their gifts are

without profile or influence. But a sum

disbursed collectively, equitably, and reach

large enough to make a lasting impression –

beyond the ‘known’ entry routes before them.

setting the compassionate tone, and possibly

In conversation recently in London, Darren

the professional pathway, of arguably one

Walker, head of the US Ford Foundation,

of the most well-known African American

shared an anecdote that both challenged

philanthropists.

preconceptions of what philanthropy looks like, and illustrated succinctly what a gift’s legacy

As Darren Walker exemplifies, a radical,

can be.

collective approach to giving can have legacy far beyond any of our lifetimes, and can change

Walker shared a tale of how, as a young man

the very nature of giving.

raised by a single, low-income parent, he once received a $500 bursary – a sum that came from a group of siblings who held modest jobs, but who annually clubbed together to offer Walker’s college this gift, in memory of their father who had attended the same college. “That gift made it possible for my mother to see me graduate, and without it she would definitely not have been able to afford to do”, he explained.

Illustration by Sophie Viet-Jacobsen.

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Amanda Parker is an Olivier Award-winning arts and cultural consultant, whose work advances ethical practices and systems change for a more inclusive future.

A 21st Century Approach to Funding the Arts

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Artiq Annual Volume 2

For too long, the art world has been for the few, not the many. Henry Dowson speaks to three trailblazing organisations that are kicking down doors and paving the way for future talent.

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Un-level Playing Fields

Entering the world of art can be daunting,

One organisation working as an intermediary,

with many doors needing to be opened or even

attempting to bridge the gap and provide

kicked in. These often require a complex set of

paid internships with opportunities for career

scholarly qualifications, financial backing, or

progression, is 10,000 Interns Foundation.

indeed connections inside the industry itself.

Championing underrepresented talent and

But these old doors are starting to rust.

promoting equity of opportunity, they run

Individuals and institutions are taking this

two programmes to help meet this mission: the

opportunity to deconstruct the barriers of

10,000 Black Interns programme and the 10,000

entry from the inside, wanting to open the

Able Interns programme. Both programmes

sector to exciting, talented, young people. In

partner with businesses to offer students and

particular, the importance of paid, sustainable

graduates paid internship opportunities across

internships is key in dismantling this rigid

a range of industries, including the creative

and restricting structure. Young people propel

industry.

business and futures forward with their own potential, which, in turn, is the driving force

The Foundation’s Chief Impact Officer, Nana

behind modernity and positive change. It seems

Campbell, explains: “Talent is everywhere, but

vital for companies to hire paid interns and

opportunity is not, and the Foundation is driven

welcome a new generation of professionals

to democratise the early careers space to ensure

into the industry with open arms, to ensure the

that a variety of perspectives and voices are

arts sector becomes a thriving and accessible

given a platform and that the communities it

industry.

works with can access spaces they may have traditionally been excluded from.” Alexandra

However, the current climate in the arts sector

Vanburen Callender, an intern and now part-

boasts some fairly staggering statistics: a pre-

time employee at Artiq, shared some words

pandemic report by the sutton trust highlighted

about her experience saying, “this opportunity,

that almost 90% of internships in the arts were

and observing the different roles in the business

unpaid , and 77% of people working the creative

provided me with real examples of the many

sector have at some point in their career worked

ways my personal interest in art could be

for free . These numbers are indicators of the

turned into a career”.

1

2

socio-economic barriers that act as a deadbolt lock on the door to creative careers. The harsh

Democratising access to opportunity stands as

reality of these statistics is founded in radical

a crucial factor in diversifying and elevating

budget cuts, both from within and outside of

the sector to new heights. It is imperative to

the cultural sector, which have been demanded

address the socio-economic and class barriers

by the austerity policies of the last 12 years,

that alienate young people from entering the

compounded by the “erosion of state support

sector. A new, sustainable, and viable path must

in the preceding decade” under successive

be forged for newcomers to tread, which in

neoliberal governments3. At large, institutions

turn will set out to alleviate concerns. Notably,

and arts organisations simply do not have the

paid internships have been linked to social

funds to invest into artistic futures.

mobility, with 74% of individuals from working class households demonstrating signs of

Instead, they compensate by offering the

positive social mobility after completing a paid

opportunity and experience, instead of pay.

internship.

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Top image: The 10,000 Interns Foundation team. Photography by Mariana Pires. Bottom image: The 2023 cohort of New Curators.

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Un-level Playing Fields

An increasing number of institutions are actively working to dismantle these barriers, opening the field to young professionals, and offering new, exciting pathways into the industry, which is refuelling the industry with fresh and innovative ideas.

New Curators offers a twelve-month fully paid curatorial training programme in London. It is designed for individuals from lower socioeconomic backgrounds from around the world to gain a foothold in a profession that they would not necessarily have access to, but is somewhere that would improve greatly should they be better represented in it.

Yet, the New Curators initiative goes further than this. In addition to providing a foot in the door to the art world, they are also creating space for these individuals to flourish. Moreover, their carefully constructed programme also sees participants meet influential art world workers whose vision aligns with the organisation. In doing so, the young curators not only have a way into the sector, but can firmly grasp what is needed to succeed, whilst making the connections along the way, which ultimately ‘makes the journey into curation more equitable’ and feeds knowledge and experience back into the arts economy.

There are clear benefits to both sides of having sustainable and paid internships that seek to be equal and accessible for all. In fact, unpaid internships neither improve job prospects nor lead to higher pay in the future, rather the opposite. Unpaid internships can devalue the labour force and increase the gap between the rich and the poor; the negative consequences of unpaid internships on the interns needs no further clarification.

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43%

of internships at for-profit companies are unpaid4.

74%

of individuals from working class households demonstrate signs of social mobility after completing a paid internship.

77%

of people working the creative sector have at some point in their career worked for free.

90%

of internships in the arts sector are unpaid.

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Un-level Playing Fields

However, paid internships can serve as a

into the production of their cultural

stepping stone, not a trapdoor, for emerging

programming, proving just how important

professionals and, for businesses, can provide

these opportunities are. Having fresh

a unique opportunity to discover and foster

perspectives from a myriad of backgrounds

future talent whilst having a significant impact

is fundamental for a healthy art scene. As an

on the retention of interns as valuable future

industry, we must provide authentic, sustainable

employees.

and welcoming opportunities for young professionals entering the industry. Whilst

Similarly to New Curators, there are several

dismantling the door that favours some people

innovative internship programmes being

over others, the industry must also facilitate

forged outside of London. Launched in 2020,

time and space for young people to develop

the Frieze x Deutchebank Emerging Curators

their skills and grow into professionals who

Fellowship was initiated as a paid placement for

can give back to individual organisations and

UK-based Black and People of Colour (POC)

the industry at large. The benefits from these

emerging curators. The aim of the fellowship is

initiatives are already being felt from all

to address the disparities in the sector, offering

sides, whilst the lasting impact will help to

spaces at institutions such as Chisenhale

strengthen the sector and empower Britain’s

Gallery, Baltic Centre for Contemporary Art,

creative youth for decades to come.

The V&A Museum, and The Whitworth, and is still running today with more institutions signing up. The fellowship was initially set up by the artists themselves, with established artists such as Yinka Shonibare, John Akomfrah and Ibrahim Mahama selling editions to raise funds for the wages of the fellows, which clearly displays the insistence from practitioners inside the art world wanting change. Kinnari Saraiya, a recipient of the fellowship, spent her time at Baltic, during which she was afforded the time and trust of the organisation to develop crucial moments in the public programming of the institution whilst “being able to own a creative output, and show it on already established platform.”

The importance of providing a space for people to authentically express their own ideas with their voice is central to the Emerging Curators Fellowship, empowering not only the fellows,

Henry Dowson, Curator at Artiq 1. Cullinane, Carl & Rebecca Montacute, 'Pay As You Go? Internship pay, quality and access in the graduate jobs market', The Sutton Trust, Nov(2018), p.22.

2. Creative Industries Council (2022) Growth Of UK Design Twice As Fast As Rest Of Economy.

Available at: https://www.thecreativeindustries. co.uk/site-content/growth-of-uk-design-twice-asfast-as-rest-of-economy 3. Industria (2023) Structurally F–cked An inquiry into artists’ pay and conditions in the public sector in response to the Artist Leaks data. London: a-n The Artists Information Company.

4. Gaynor, M.J. (2019) 43 percent of internships at for-profit companies don’t pay. Washington Post - 43 Percent. Available at: https://www. washingtonpost.com/lifestyle/magazine/his-questto-get-interns-paid-is-paying-off

but the institutions as well. Kinnari has now completed her fellowship, and holds the position of Assistant Curator at Baltic, providing curatorial knowledge and insight

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Artiq Annual Volume 2

George Bird takes us through the history of research into the psychology of creativity, exploring how it can be defined and cultivated.

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On Creativity

When creativity is brought up, our minds often

with his theory of convergent and divergent

jump to scenes of great artists and musicians,

thinking, now part of the common Myers-

Da Vinci in his Florentine studio, or Picasso

Briggs test. This structure categorises thoughts

scribbling on napkins at restaurants, Mozart

as convergent, in which thinking focuses

composing by candlelight or The Beatles

towards one efficient solution to a problem,

working out another number one record.

or divergent, where thoughts expand outward

Beyond these we might start to think of great

from the solution and involve multiple novel

scientists and inventors such as Tesla and

or unconventional solutions to the problem.

Edison tinkering away in labs and Marie Curie

Further research largely focuses on the

working towards either of her Nobel Prizes.

divergent type thinking in which creativity

Modern examples include Sirs Jony Ive, James

is most apparent.

Dyson, or Tim Berners-Lee. A further analysis of the research base in Creativity in this sense is often held

the 1960s, defined four main groupings of

as something almost otherworldly and

psychological research, known as the four Ps.

unknowable, creatives are thought of as just

These are ‘persons’ focusing on the individual

‘having it’. But creativity is not just massive

traits and personalities that affect creativity,

ideas, world famous artworks and music or

‘process’ focusing on the motivation, and

new and unique industry defining products.

thinking during the creative process, ‘press’

Creativity appears in all areas of our lives,

explained as the external environmental

no matter the scale - this is reflected in

factors affecting creative outcomes and

the approach of modern psychology to the

‘product’ studying the ideas and end results of

phenomenon of creativity. An emphasis on the

creative processes. Throughout the 1960s, the

importance of creativity is also growing within

groundwork was laid for further development in

non-traditional ‘creative’ sectors. Increasingly,

the field. Many of the common measures still in

the ability to understand and foster creativity

use today were created and began to

whatever the space is a crucial role of business

see widespread use.

leaders and teams.

Psychology also began to take an increasingly Creativity is now accepted as a major part of

interdisciplinary approach to research,

who we are and how we work, but psychology

drawing on sociological research and research

hasn’t always given it the attention it deserves.

into education to allow more nuanced and

In 1950 as President of the American

diverse approaches to appear in the following

Psychological Association, J. P. Guildford,

decades. This diversification in the research is

highlighted that only 0.2% of the current

demonstrated in a recent literature review from

psychological research was dealing with

2021, identifying 12 major areas of creativity

creativity and creative impulses and challenged

research along with 36 key trends from

the field to remedy this lack of research into

recent years in comparison to the 4 of 1960.

creativity. And psychologists responded. Over

Psychology papers relating to creativity are

the next years and decades, Guildford’s call

now being published at a rate of around 3000

to action spurred a more enthusiastic move

per year with the majority relating to creativity

into creativity research which continues today.

within organisations and teams, the social

Guildford himself expanded the research base

psychology of creativity, creative industries,

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Artiq Annual Volume 2

and cities and idea generation. Other major

reaching and transformative as Pro or Big-C.

areas focus on the neuroscience of creativity

Little-c ideas are no less or more creative than

as well as specific creative industries and

Big-C, but have a different level of impact, and

therapies.

are often more domain specific. And finally, Mini-c, also known as subjective creativity,

Traditionally, the dominant psychological

represents ideas that are personally novel and

categorisation of creative thought has split

meaningful. These ideas or insights most often

creativity into two ‘types’, big and little C.

occur in individuals when they’re learning or

However, this categorisation of creativity can

experiencing things for the first time. While

seem limited in its scope. Against the general

this structure allows us to categorise creative

trend of psychology to minimise theoretical

thoughts, it’s important not to think of these

structures Kaufman and Beghetto have

levels as a ranking. For every Big-C idea,

proposed a more developed model, the four-C

there are layers of mini, little and pro-C ideas

model of creativity which expands upon the

providing a base upon which these larger world-

previous models with the inclusion of Pro-c

changing ideas can be launched.

and Mini-c creativity. These 4 levels present creativity as a continuous scale in order of

While there’s a mass of research work available,

Mini-c, Little-c, Pro-C and Big-C. Big-C

businesses without a psychology background

creativity refers to large scale ideas with a

often struggle to find ways to develop new

global transformative reach. These ideas are

practices that could make use of these findings.

characterised by the significant impact they

A general understanding of some of the

have on our world even outside of their specific

core ideas can start to bridge this gap. The

domains. They must also be new and novel and

most important factor in fostering creativity

often completely shift the approach to a field,

is an effective working environment. Here

creating an enduring and lasting impact.

we highlight some small key ways to foster

Big-C ideas commonly come from eminent

creativity within the workplace drawing on

figures, well respected within their fields,

some of the psychological structures discussed

such as those used in the introduction.

previously. The first method of fostering creativity is recognising it. Returning to the

The first of Kaufman and Beghetto’s additional

four C’s structure, the ability to recognise and

levels, Pro-C creativity comes between Big

encourage creativity across the four levels will

and Little-c and represents ideas that are

develop a more secure space in which ideas can

groundbreaking within their specific domain

grow. It’s important to reward and acknowledge

but do not go beyond to a global reach. These

the importance of ideas across the spectrum of

ideas come from professionals within their

impact rather than focusing too heavily on Pro

fields who may not have reached the top

and Big-C and disregarding mini and little-C.

eminent level. These individuals include doctors and professors, professional designers

Another key way is to allow space for creativity

or high-level engineers. Often overlooked and

to happen. A rigid workplace without space

underappreciated in creative settings, Little-c

for failure or autonomy will stifle creativity

refers to the everyday creativity that we all

and create a focus on more convergent ways of

demonstrate, or creativity that happens within

thinking. While this may get results, it doesn’t

a specific domain and is therefore not as far

leave space for other more creative or innovative

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On Creativity

Mini-c Personal and subjective creativity

Little-c Everyday creativity in a specific domain

Pro-C Groundbreaking ideas in a specific domain

Big-C Innovative ideas with global transformative reach

Kaufman and Beghetto's four-C Model for creativity.

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Product The ideas and end results of creative processes

Person

Process

Individual characteristics and traits that impact creativity

Motivation and methods during the creative process

Place Culture, climate, context: environmental external impacts on creativity

James Rhodes' concept of the four P's of creativity.

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solutions to be found. By clearly defining goals but providing low pressure spaces for ideas to be explored from multiple angles, more creative solutions can be developed using divergent thinking patterns. This is turn may lead to some surprising results. This further feeds into the need for unconventional thinking to be encouraged, and for failure to be viewed as a learning opportunity rather than a dead end.

An individual or team who can be agile and respond to failure as a lesson can more easily use it to adapt and find novel solutions.

A final way of bringing creativity more into the workspace is actively setting aside time for it to happen. Providing time explicitly for teams to mix between themselves and with other teams will allow people the space to explore ideas that they may not otherwise have time for, and diversify the solutions to problems. By giving teams space to mix, individuals can often provide novel solutions by seeing problems in a new way, or by breaking out of established thinking styles that may have set in.

Establishing these key practices in the workplace should foster a new relationship to creativity and generate more diverse solutions to problems that businesses are likely to face.

Creativity in this sense leads to more creativity.

By providing the first stepping stones in fostering creative practices, creativity can develop as a new habit for many teams and businesses.

George Bird is a recent graduate from MSc Psychology of Art, Neuroaesthetics and Creativity at Goldsmiths, the first postgraduate programme in the world for the scientific study of aesthetics and creativity.

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Artiq

Asks

He is the interior designer behind some of the hospitality industry's most recognisable spaces. Find out about Martin Brudnizki's most cherished projects, advice and sources of inspiration.

(1)

A piece of art you dream about having at home...There is a painting titled ‘Marriage Portrait

of Isaac Massa and Beatrix van der Laen’ by Frans Hals, which I often reference as one of my favourite artworks of all time. The first time I saw it was at the Rijksmuseum in Amsterdam and was completely enamoured by it. It was painted in the early 17th Century, but it appears so ahead of its time by how at ease and in love the couple are captured in the piece. It would be a dream artwork to own.

The best career advice you've received... There is a quote that my father once said that has stuck

(2)

with me. He always emphasised to

“take care of the here and now, and the future will be ok”, which is something that grounds me in the moment and helps me not to worry too much about what is to come.

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The importance of collaboration…Working with such a diverse array of interior design clientsm, there is always emphasis and importance placed on a collaborative way of working - from conception to completion of a project. We closely work with them at every stage, ensuring what we

(3)

design works for them on a business level (if we’re working on a commercial project) whilst remaining beautiful and unique to their needs and wants.

(4)

A book you return to for inspiration…

A book I always

(5)

Your proudest

return to is Swedish Grace by

achievement...

Gunnela Ivanov, it is a wonderful

There have been

book that documents beautiful

many projects

examples of the movement through

throughout my

architecture, antiques, furniture,

career that have

furnishings, and exhibitions in the

been incredible

early 20th century. Very little has

achievements,

actually been documented about

but Annabel’s in

this era, so it is an incredibly special

London is my proudest and most definitely a stand-out.

book to own. It also heeds to a lot of

It was an honour firstly, to be asked to work on such an

my early design influences growing

iconic members’ club and London landmark, one that

up in Sweden, and the objects my

has been around since 1963 and welcomed every prolific

mother collected and displayed in my

name, from celebrity to royalty. But most rewardingly,

childhood home.

we were really allowed to push the boundaries with our creativity and ideas and for the project, which resulted in inimitable spaces. It was a once in a lifetime project for us.

Guilty [design] pleasures...

I do not really classify anything as a ‘guilty’ pleasure when it comes to design.

But I would say a pleasure of mine

(6)

is my collection of ceramics that

I have built over the years. I used to spend a lot of time travelling in Italy, and I would find the most charming ceramic trinkets and dishes, as well as little ceramic fruits and vegetables that would always make me smile.

1. Portrait of a Couple, Probably Isaac Abrahamsz Massa and Beatrix van der Laen, Frans Hals, c. 1622; 2. © Oli Kearon; 4. © James McDonald; 5. Swedish Grace by Gunnela Ivanov.

Published by Kaunitz-Olsson. Image courtesy of Kaunitz-Olsson.

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Nostalgic Narratives A conversation with artist and printmaker Adam Bridgland about nostalgia, the visual dynamics of written language and waking up next to people that make you feel happy.

Artiq Adam - you studied Print and Photomedia

growing as a practitioner, and it really takes

at Norwich School of Art and Design before

time to establish yourself within the creative

completing an MA in Fine Art from The Royal

world.

College of Art in 2006. What first prompted you to become an artist?

Artiq From printmaking and painting to sculpture - you work with such a wide range of

Adam Making art always seemed right and

processes and materials. How does your practice

never a challenge. For me it was just fun and a

change based on the medium you're using, and

way of expressing myself. From an early age,

does different material allow you to express

I loved drawing birds, planes and racing cars

different ideas or concepts?

and the appreciation I received for my works from my family and friends probably planted

Adam I have never tried to tie myself to any

the seed that I was okay at making imagery. I

medium. I think it is dangerous from a career

was very fortunate that my family took me to

perspective to say “I am a printmaker” or “I

museums and exhibitions and from there you

am a painter”. Why should you pigeonhole

can see that art is something you can do as a

yourself when being able to make and create is

grown up! I think however it takes a long time

so liberating? I am interested in all mediums

to understand this and fully embrace the title

and depending on the project I will work and

of an artist. I am now in my 40’s and I think

choose whatever I feel works best to the brief.

it is really only in the last 5 years that I have

I suppose I am quite like a project manager

felt comfortable in saying I am an artist! Maybe

or designer in that way. I have always worked

this is because you are always developing and

better when a concept and deadline is given.

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Photography by Amber Rose-Smith.

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Photography by Amber Rose-Smith.

I like there to be a start, middle and end, a

to use external studios to make work I had to

framework to work within. However, throughout

be more resourceful with the ephemera kept

my practice you will see a link to print. I have

within my home studio.

always been interested in the multiple and how an artist can manipulate the idea of the repeat.

Artiq You often reference British idioms, lines of poetry or stock expressions, adapting them

Artiq You often reuse found objects in

in a way that may seem revealing about the

your practice, such as postcards or vintage

mundaneness of everyday life. Equally to the

photographs. Is this act of recycling important

meaning, typography is another central element

to your creative process, and has this changed

to how you approach working with text - how

over the course of your career?

do you think about visual appearances of the written word alongside linguistic impact?

Adam I have always been a collector and my studio is full of old photographs, guidebooks

Adam For me text is a way of instantly getting

and postcards. I suppose as your artist practice

the attention of the viewer. The best texts

is a continuation of your identity, I have always

though have two or three meanings and I

been interested in using found imagery and

hope that people when viewing the work see

appropriating this in my works. I suppose that

this and get this hidden depth, alongside the

the lockdowns in 2020 from Covid amplified

connection to the appropriated imagery. I have

the use of this imagery, as without being able

always written poetry and music alongside

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Upon Every Wave Our Wellbeing Rides (RNLI), 2023, unique work, enamel, spray paint and crayon on found image.

I Need This Wilderness For My Heart To Beat (Kingfisher), 2023, unique work, enamel, spray paint and crayon on found paint by numbers image.

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taking notes about the everyday and the world

patch or pin badge that someone’s takes away,

around me. I suppose I am trying to romance

it is an object that can be held as a token of my

the mundane as I think there is a lot of joy and

practice, of my identity that in turn informs

beauty in this, which we tend to ignore as the

that person’s identity.

white noise that surrounds the highlights!

Artiq From Croydon to Kyoto, you have Artiq Something that has previously been said

exhibited works around the world. How do you

in relation to your practice is how it carries a

feel these places, environments, and cultures

“sense of loss and nostalgia that permeates our

affect the impact of your artworks?

memories of distinctively British sentiments.”

Can you tell us more about what you think is

Adam Travel and explore as much as possible,

uniquely nostalgic about British culture? And

this will give you a much more rounded

what do you think we are nostalgic for?

perspective about life and culture. Being able to exhibit in a range of places is such a huge

Adam I am not sure if I have completely

honour, and the experiences that I have gained

figured this out yet in my practice! So far I

from these visits feeds back into my art practice.

think there is a comfort and safety in nostalgia which helps people understand the everyday

Artiq You've previously spoken about the “rose-

and build confidence in the future. I also think

tinted, wistful spectacles we don when thinking

we are constantly trying to understand our

of the past, as well as the future”. Do you look

identity, who we are and what have we come

at the future with rose-tinted glasses? If so,

from. I am not sure if we ever really understand

what do you see?

this and that is why we return to text and imagery.

Adam At the moment I am just very grateful that people are taking notice and appreciating

Artiq Has your practice impacted your thinking

my work. For me I hope this continues for many

around ideas of identity, belonging and,

years. The small orbit around me has been

fundamentally, about Britishness?

very kind recently and no one should ever take this for granted. Be humble, nice and surround

Adam I have always been fascinated by fan

yourself with loving family and friends.

clubs and how this bookmarks moments in our lives. As a child I was part of the Lego club,

Artiq Some artist's work we only ever get to see

the Beano club, the Airfix club, I collected

in traditional gallery settings, with white walls

Panini stickers. It gave me a sense of belonging

and perfect lighting. We've had the pleasure of

and this was fortified by the fact you received

seeing your work installed in public collections

badges, certificates, and gifts. Art and music

and commercial institutions, in the centre

are very much like this, and your appreciation

of cities and on beaches along the Suffolk

is a continuation of these childhood clubs.

coastline. What kind of setting would you like

They define are personality, give us a sense

to see your work in next?

of identity and belonging in the everyday.

Throughout my artistic career, for many of my

Adam I have always looked to present my work

projects I have created works that everyone

in a number of places. I won’t wait for things

can feel part of, whether it is an embroidered

to happen so if I can create interventions in

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Nostalgic Narratives

You Are The Dawn After My Dark, marine ply sculpture, in situ on Lowestoft Beach Suffolk for First Light Festival, 2021.

the everyday this keeps me and my practice

Wilderness For My Heart To Beat” and

exciting. I am also interested in affecting

“Wake Up Next To People Who Make You Feel

people who perhaps don’t traditionally consider

Happy.” Without these I wouldn’t have a career

art or would visit a gallery or museum. Art

or the pleasure to be answering these questions.

and creativity is hugely important in our everyday thinking and expression. If I can influence the few by installing a sculpture on the Suffolk coast for example and from that the viewer looks at the world differently and starts exploring something new, something not considered before, then I think my practice has done a good thing.

Artiq Do you have a favourite line or quote you keep returning to?

Adam A favourite line of mine is “While we have this moment please say something cinematic.” However, it isn’t everyone’s favourite, so I have to salute “I Need This

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AI in Creativity: Tool or Collaborator?

Tommaso de Benedictis, curator at Artiq, on the influence, apprehensions and ethics surrounding the rise of artificial intelligence in the creative industries.

At some point in our lives, whether we like

production is protected while at the same time

it or not, we have engaged with some form

expand creative possibilities and push the

of Artificial Intelligence. The ever-learning

boundaries of art, design, and architecture into

technology, emerging straight out of a sci-fi

new domains?

novel, continues to find new applications across most aspects of our daily lives, and looks like

Generative AI platforms such as ChatGPT,

it’s here to stay. But what does this mean for

Midjourney, and the Generative Fill tool on

the creative industry? Where do we see the

Photoshop have been gaining popularity

relationship of AI and creative work heading

not only in the creative industries but across

in the future? How can we ensure that creative

many different sectors. Generative AI can be

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AI in Creativity: Tool or Collaborator?

used to create new content, including videos,

library due to the lack of transparency around

audio, code, images, text, simulations, and

authorship1. A US Court ruled in August 2023

videos based on given prompts, which can be as

that AI-generated images are not eligible for

simple as one word or as complex as a paragraph.

copyright. This is because “human authorship

Recent breakthroughs in the field have the

is a bedrock requirement of copyright” and

potential to drastically change the way we

that copyright has never been granted for

approach content creation (see image below).

work that was absent of “guiding human hand”2. However, we must remember that when

While some creatives remain sceptical about the

photography was popularised it wasn’t allowed

new technology, many of them have embraced

to be copyrighted because it was considered

it and incorporated into their practice.

simply as a mechanical reproduction3. It took several decades before policies were introduced that recognised the human ‘hand’ or human ‘agency’ behind a photographic image. Interestingly, the term used by the US Supreme Court in the constitution’s copyright clause considers photographs as ‘writings’, in the same way that authors have exclusive rights over their ‘writings’. In the future, the written prompts that we feed Generative AI models for an intended output might also be considered ‘writings’ since they are created by human agency.

The grey areas surrounding copyright and authorship in AI-generated images are

Image generated on Fotor.com with the prompt "Portrait of a pug in the style of a Renaissance painting".

something that policymakers today need to contend with hard and fast. The creative industries add £108 billion to the UK economy every year, so if policymakers get it right for

There are a plethora of concerns revolving

creatives, they get it right for the economy.

around the use of Generative AI technology:

While there are legitimate concerns about the

questions around authenticity and authorship,

use of Generative AI in the creative industries,

that content created by generative AI models

there are just as many legitimate benefits.

is often derivative and predictable. Potential

Increased efficiency and cost-effective work,

job losses, data scraping, unethical uses and

quick decision-making with faster turnarounds

applications are also of great concern. At the

and workflows, democratisation of and a

top of the list is the idea these technologies

springboard for creativity – these are just some

are fed huge amounts of datasets built on the

of the advantages that Generative AI systems

work of countless contributors, more often than

can offer.

not used without their consent. Getty Images, for example, recently announced they will not

Betty Leung, a contemporary London-based

accept any AI-generated images in their image

artist, is one of the creatives who has actively

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Peripheral Interpretations XIII, Betty Leung. Image courtesy of the artist.

engaged with AI systems and incorporated

the countless contributors whose work, images,

them into their artistic practice. Working

words, and data the algorithm is built upon (the

across different mediums, from sculpture

intensive labour that drives these technologies

to video art, Betty is most interested in the

is often obscured, with companies taking

creative misuses of AI and Machine Learning

credit for the output). The notion that AI-

systems. She engages with these systems in

generated content is made up of hundreds, if

unintended ways, subverting their productivity

not thousands, of layers of information, draws

and recontextualising their output. While

an uncanny parallel to the artist’s own multi-

she resists making work faster, she hopes this

layered history: from growing up in Australia

technology can extend her independence and

of Chinese descent to living and working in

ability to make art for as long as possible, even

London today.

when her physical dexterity and energy are limited and sight poor(er).

In Betty’s sculptural ‘Interpreter’ series, AIgenerated images alluding to the artist’s own

For Betty, these AI systems are sometimes

past and identity are printed onto fabric and

used as a tool in her practice, in the same way

moulded into amorphous, tubular shapes that

a camera is for a photographer, while other

are knotted together, free falling to the floor

times she considers them a ‘collaborator’. More

like spilt guts. The AI-generated images that

precisely, she sees it as a collaboration with

Betty uses for her sculptures are unrecognisable

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AI in Creativity: Tool or Collaborator?

in the same way that Generative AI systems

Whichever way it evolves, AI technology opens

don’t offer a clear-cut view of the data that

up huge possibilities for the future of the

they’ve been trained on.

creative industries.

When researching material for this article, it was difficult not to dodge all the eschatological ruminations about what this technology holds for us in the future. Betty, however, has provided some real-life suggestions on how

Tommaso De Benedictis, Associate Curator at Artiq 1.

Getty Images Bans Ai-Generated Images Due to Copyright Worries, Artnet News Online, https://www.artnews.com/art-news/news/ getty-images-bans-ai-generated-images-dueto-copyright-1234640201/

2.

US Copyright Requirement for ‘Human Authorship’ Enforced in AI Test Case – But That “Bedrock” May be Changing, Stefanie Drawdy, The Institute of Art & Law, https://ial. uk.com/us-copyright-requirement-for-humanauthorship-enforced-in-ai-test-case-but-thatbedrock-may-be-changing/

3.

The Evolution of Copyright Law, U.S Copyright Office, https://www.copyright.gov/history/ copyright-exhibit/evolution/

to engage with AI ethically today so as not to exploit other’s labour - a sort of guideline that keeps evolving alongside the technology: •

Acknowledge that Generative AI tools are built on datasets containing work of artists and illustrators taken without compensation, consent or knowledge.

•

Be transparent about the tools and prompts that are used.

•

Don’t imitate or use the names of living or individual artists in your prompt.

•

Share and credit your references and inspirations.

•

Consider using materials from and contributing to Creative Commons.

Still in its infancy, AI technology is improving at an exponential rate. Fifty years ago, the idea of conversing with a computer named Alexa was pure science fiction. In another fifty years, how are we going to be using AI? We’re at the cusp of something big, and although historically we have always been terrified of the unknown, AI is here to stay, and we should embrace it (I sigh with excitement peppered with disconcertment as I write this). Finding solutions to giving credit to artists whose work has been used for training generative models is key to protecting creator’s work in the future.

Art has a history of intention - will AI have its own intention in the future? Will we continue to use AI as a tool, or will it have its own agency and act as a collaborator?

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Studio Lenca: Crafting Belonging From undocumented status in the U.S. to a permanent residency at TKE Studios in Margate, we speak to Studio Lenca about reclaiming narratives through their art while creating space for their community to do the same.

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Photography by Benjamin Eagle.

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Isabelle Your story starts in La Paz, El Salvador,

Isabelle Alongside visual arts, you also express

in the mid-1980s. Today, you are based on the

yourself creatively through dance, practising

south coast of England, in Margate, Kent. From

ballet and contemporary dance since growing

then to now, can you tell us about three pivotal

up in San Francisco. Like visual arts, dance can

moments that shaped your journey to where you

be seen as a universal language that can tell

are now, both geographically and in your role as

stories and express complex emotions without

an artist?

using words. For you personally, how do these disciplines impact each other?

Studio Lenca I’ve had so many pivotal moments throughout my life. These have occurred in a

Studio Lenca The act of painting for me is an

geographical sense and in terms of my practice

embodied practice. I see dance and painting as

as an artist. A few important moments have

overlapping disciplines. Decision making when

been attending Goldsmiths University where I

I paint is like improvisation when I dance.

trained to be a teacher and gained my MA. Last

Composition on the canvas is choreography.

year I was offered a permanent studio space at

Being illegal in the USA requires dexterity,

Tracey Emin’s TKE studios in Margate- which

sharp reflexes and timing – it’s like being a

has meant I can work in a beautiful building

dancer. I like to imagine the figures in my

surrounded by an inspirational group of artists.

paintings dancing to Selena Quintanilla or

At the start of 2023 I had a solo show at the

moving balletically through elaborate

Parrish Art Museum in New York, where I

bureaucratic processes in the glare of homeland

connected with the local Latinx community

security. Each aspect of my practice feeds into

that service the houses in the Hamptons.

the other.

I learned so much about my practice and some of the issues that impact my community in

I don’t think I will ever move away from

making this work.

painting but sometimes the thinking and research takes on other material forms. Such

Isabelle The figures in your work demand

as working with community, movement or site

attention from their audiences, always painted

specific pieces.

in bold, vibrant colours and wearing large hats.

The shape, which has become a signum of sorts,

Isabelle 'Rutas' is a project you initiated last

feels both symbolic and personal. What is their

year: a space where individuals who have

history, and how come they so frequently appear

undertaken undocumented journeys can

in your practice?

share their experiences through painting.

You have said the project is 'documenting the

Studio Lenca I want the figures in my

undocumented'. Growing up, did you have a

paintings to be self-assured, proud, courageous

similar community or role models with shared

and visible. The hats are about taking up

histories to look up to?

space and asserting identity. Growing up undocumented as a family we felt like we had

Studio Lenca Because these journeys are

to hide, to not be too loud, to be un-seen. The

undocumented they are not recorded and

paintings are meant to create a space not just

remain hidden. They were also associated with

for belonging, but flourishing.

an unnecessary sense of shame. This project

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From the project 'Rutas', 2023, Studio Lenca.

La Libertad, 2023, Oil and acrylic on canvas, 150cm x 120cm.

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Cobija, 2023, Oil and acrylic on blanket, 183cm x 222cm (acquired by The Pérez Art Museum, Miami, USA).

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La Paz, 2023, Oil and acrylic on canvas, 200cm x 200cm.

is about reclaiming the narrative and making

Studio Lenca I’m fascinated by how pre-

these stories visible, as an important part of the

Columbian civilisations used maps which

history of our community.

embodied different forms of knowledge. Maps were also weaponised by colonisers, such as

Isabelle Your art tells the story of migration

Spain’s Padrón Real. These practices exist to

and the experience of being an undocumented

this day. Maps and borders are one way that

immigrant. Although this story is far from

political and social inequalities are upheld.

unique - there are an estimated half-million

This project is about creating different forms

illegal entries into the United States each year

of maps that are about human stories. For too

- it remains largely untold. How do you wish to

long migrants have been scapegoats. We’ve been

reshape this narrative through your practice?

vilified as dangerous intruders or invaders.

What message do you hope your audience takes

Crossing a border and surviving these really

away from your work?

dangerous journeys are huge acts of bravery

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Photography by Zac Gates.

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Studio Lenca: Crafting Belonging

and survival but also of imagination. As many continue to die on their journeys, they are driven by the vision of a different future.

Being an artist is an equally imaginative act and shares with these journeys across borders a sense of hope. Perhaps the narrative needs to be one of migration as an act of creativity and imagination, against invented borders and walls set out to dehumanise and control us.

Isabelle Having worked as an art teacher in a London primary school, what was something you always told your students that you still live by now?

Studio Lenca There are no rules, it’s just about trying.

Isabelle Your studio is currently based in TKE Studios, created by the Tracey Emin Foundation. What has inspired you most about being there and how is this reflected within your work?

Studio Lenca I love the community and being by the sea. It’s amazing to work with such a diverse and dynamic group of artists.

Isabelle We are speaking at the beginning of a new year. What do you hope 2024 will have in store for you?

Studio Lenca I’m looking forward to my solo show at Carl Freedman in April. It’s going to be my most ambitious exhibition to date.

Isabelle Finally, what is your favourite colour?

Studio Lenca Pink.

Isabelle Guyer, Curator at Artiq

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BENEFITS FOR ARTISTS WORKING WITH INTERIOR DESIGNERS Receive feedback and opportunities to collaborate. Working in collaboration with interior designers and curators, you may receive feedback and guidance on your work during a project. This can come when working on commissions that are site specific, perhaps adjusting scale or colour to harmonise more impactfully with the setting. Portfolio review, guidance on pricing or digitalising an artwork in high resolution are some examples of support and collaborative learnings artists may expect.

Enhance your portfolio. Projects with interior designers are great opportunities to develop your practice. Often, works will be required to be highly unique or tailored to suit a location or a specific narrative. Your artworks, whether purchased from your portfolio or commissioned bespoke for the project, will be captured in a diverse range of real-life settings, this diversity can attract a wider range of clients based on your ability to show creative adaptability.

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Target new audiences. Working on projects with design studios, brands and creatives themselves can push your artworks towards new and wider audiences that may not have discovered your work if displayed solely in a gallery environment or online. Interior designers often work with luxury hospitality developers whose aims are to target and impress an international market of cultural connoisseurs. Many of whom may also be avid art collectors themselves.

A Curator's Article Title Take

Get paid for exhibiting your work. You will be paid to have your work exhibited in unique and beautiful locations within the hospitality industry. Your works may travel countries, continents and hemispheres across the world, whilst you are being paid for the sale, commission or lease agreement. Often with gallery exhibitions artists may be expected to display their work for no fee in exchange for exposure. Interior designers and curators will ensure equitable artist fees are set and adhered to.

Gain further opportunities from your successes. Successful projects will lead to more opportunities to create more art.

Completing projects with interior designers will benefit your portfolio and enhance the likelihood of opportunities for future commissions. Part of what makes a project successful also comes from building professional relationships with your curator, project manager or suppliers within the industry. Networking consistently can lead to further collaborations and future projects.

Gain access to high-profile projects. Interior designers often work on high-profile projects with repeat clients or within large groups of property developers and owners. Their project opportunities can be a fantastic way to gain knowledge of a growing industry whilst seeing your works be displayed in some of the most sought-after travel and leisure destinations in the world.

Gain valuable project experience. You will develop key skills and knowledge associated with the running of large-scale projects in the creative and hospitality sector. Collaborating with interior designers will provide insights into the detail-oriented concepts surrounding design principles, colour theory and the practical concerns of functionality in design.

There are always timelines, deadlines and iterations involved in projects developing artwork collections and design schemes, and it’s fantastic to have an understanding as to the decision-making steps involved.

Present a strong voice through your art.

When working with interior designers your artworks will be presented by curators to enhance a sense of place, mood, emotion or storytelling within the project, whilst the interior scheme is kept closely in mind.

Through this collaborative discourse we are keen to understand your creative process and your lived experience as presented or imbued within your artwork and creative practice. You are encouraged to impart your own storytelling through your artworks, influencing the narrative and tone of the project.

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BENEFITS FOR INTERIOR DESIGNERS WHEN USING ART IN PROJECTS Original artworks stand out. Making those first impressions count. It is so exciting for guests and clients to have unique artworks curated well for their arrival into a new setting; it’s a great opportunity to show off your creative design work. Being bold and incorporating original artworks by local talent can layer a final sense of materiality into your finishes and fabrics – think textured paper, ceramics, impasto oil paints or wood carved sculptures. The tactility of artwork never goes unnoticed and is such a standout moment when elevating an interior. Artworks can add a focal component of uniqueness.

Standing out from competitors has never felt more important in the widely expanding hospitality and residential project landscape, and artwork is a great tool to do this.

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Art brings a focus to your marketing. Once a project comes to completion it may see a launch or opening or be put on the market to be sold.

Marketing will support the project to reach as many potential guests, buyers or experts as possible and the artworks shown in the photography will enhance this reach and impact.

We often see architectural and interior designers renting artworks ahead of a project being sold to a final buyer purely to market that sense of place, home, familiarity and cultural pizzazz.

Support living artists & their careers. Perhaps most importantly, working with artists and folding creatives and makers into your interior design projects supports the wider creative economy. Supporting living artists ensures viability to their careers as creative professionals, they have a vision and a story to share which is shared with all foundational components of design work. Extending your vision to incorporate artists has the potential to support multiple careers and communities. In turn artists can supply artworks that will harmonise with the interior design scheme, artworks that will layer on top of the materials, finishes and colour palettes and artworks that will deliver impact to every space.

Increase the value of your client's new space.

Artworks can help create the best possible space for your clients. Providing them greater investment in their new interior through the inclusion of an art collection. Art holds value which grows over time, and sourcing emerging talent will enhance the value of the setting as future investment.

Provide authenticity by engaging local talent.

With projects possibly stretching globally, it is important to tap into the authenticity and appeal that draws guests to specific locations. Be it the cultural heritage, geographical uniqueness or a vibrant nightlife – all components can be pulled into design choices to make guests feel right at home in their chosen stay. Working with local artists who can imbue a sense of their own lived experience is the most authentic way to highlight materials, pigments, compositions and stories that hold the key to understanding a sense of community or place.

Artists can offer insight & solutions to challenges.Working with artists can provide new perspectives and creative solutions to challenging interiors. Artists who have experience positioning their works in unique settings outside of the standard gallery model are adaptable to working with the setting and the requirements of a project. Oftentimes, artists can lend their skills to create commissioned works that are able to disguise access panels, unwanted architectural features, or use their work to highlight and celebrate a buildings uniqueness or character through thoughtful and highly bespoke solutions.

Win over your prospective clients. Forget the last minute google search or stock image archive scrolling, it is a game changer to have access to research that has been recommended by curators and sourced directly from artists that are local and relevant to the narrative, colour palette and budget level of your project. This will surely wow that new client and kickstart a project with tailor selected artworks dropped into your concept CGIs as a well thought out and personal touch.

Beth Fleming, Associate Director, Curatorial at Artiq

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We’re Artiq, the international art agency creating impact with culture.

Our business creates more opportunities for artists, more art experiences for people and is fostering a sustainable arts economy in which creatives can grow and thrive.

Find out more at artiq.co or get in touch at hello@artiq.co Artiq 1st Floor 23-25 Great Sutton Street London, EC1V 0DN +44 (0) 20 3137 2101

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Acknowledgements

A publication like this is only possible with the collaboration of a great number of creative and intuitive minds. As always, a huge thank you to the entire Artiq team for your endless creativity, diligence and inspiration.

Thank you to the contributing writers from the Artiq team: Beth Fleming, Meela Thurloway, Molly Coffey, Tommaso de Benedictis, Amrin Mangat, Tazie Taysom, Henry Dowson, Isabelle Guyer, Riki Auton, and Isaac Huxtable.

A huge thank you to Nathan Grace, Fatoş Üstek, Amanda Parker, George Bird, Lucy Puddle, Phineas Harper, Cyrus Mahboubian, Rebecca Newnham, Anna Higgins, Ben Topping, Ana Benavides, Jesse Akele, Adam Bridgland, Studio Lenca, Martin Brudnizki, North Design and everyone else who played a part in the making of this volume.

And finally, to Lovisa Ranta and Sophie Viet-Jacobsen for bringing everything and everyone together.

Cover image from the studio of Ana Benavides.

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