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Find out more about Chloe Alice Hayes Mothership residency in Dorset!  

Chloe Alice Hayes

It began with the first conversation I had had with an artist in a very long time. Of course many of my friends are artists/ photographers or work in the art industry however, because they are my friends and because we rarely get to see each other we don’t tend to fill our discussions with intellectual or philosophical talk. It came on one very wet and foggy night in the middle of the Dorset countryside after a rather long drive to my first real artist residency. Anna Best, the artist running the residency ran up to my car window dragging a very wet Curly Wurly, the residency Labradoodle behind her telling me where to park and inviting me in for a much needed and appreciated cup of tea. I stumbled in to her hectic kitchen cluttered with books, papers, teapots and plants, thinking it looked like my dream house and sat down with the cat and the tea to meet the woman who granted me this opportunity.

Firstly, she wanted to know about my recent travels and how brave she thought I was and envious that I had gone, probably not nearly as envious as I was over her purpose built studio, to die for land complete with flowing stream and incredible veg patch with her own categorised compost bins, yes I am that sad. Then we got on to what I wanted to achieve during the residency and what it was that I was thinking about looking into. She immediately lit up at the mention of me wanting to look into the local buses and how recent cuts have affected local residents. She herself had become somewhat of an activist around this area after finding that her girl’s school bus would be cut purely because of where they lived. She said she could introduce me to a local activist bus group and gave me suggestions about how to go about it and the politics behind such an issue.

My second idea was to look into the unseen, and furthering the exposure and documenting the concealed, the unacknowledged tasks of parenting. I told her that I was specifically thinking of focusing it onto rural parenting as I felt that was a less exposed area and I wanted to utilise the very rural community in which I was staying. Through discussing this Anna suggested looking specifically into the role of the woman, having seen much on the published rural man throughout history, but not of women. She had also recently skimmed over an article on womens labour and thought it might be helpful in the development of my idea. She felt the thought of looking into the mothers side of the parenting, specifically a rural mother would be very interesting and a so far an unexamined and niche issue.  I drained my cup and went to my studio to settle in for the night, allowing these ideas to stew.

The next morning I began the research on the rural mothers project, having received an email with the essay from Anna attached. It was entitled Labours of Love: Women’s Labour as the Culture Sector’s Invisible Dark Matter by Macushla Robinson. It was rather in depth for a short piece and in some ways going off topic to my project, however made a lot of sense and I wanted to knit it in as much as possible as it drew broader intellectual ideas into my work, many I had never dealt with before. I had never focused on feminism for any of my previous projects and most of my post-university pieces had come from fact-based research of a place or history as opposed to theories or questions. I actually hadn’t worked from a piece such as this since writing my dissertation, which sounds awful being a practising ‘artist’, however my photography usually stems from a site-specific or current interest I have. When reading, although I felt inspired an intellectually stimulated, I have to say I felt a little bit daunted about addressing my proposal to an audience in a few days, Anna had organized a talk for me at Bridport Arts Centre. I always feel slightly worried about talking about something when I don’t fully know all the facts, concerned for being caught out or contradicted and rightly so if I am not fully knowledgeable on the subject matter.  

The piece enlightened and stimulated me so much however, that I was determined to not only use it as inspiration but to directly apply it to the project itself. So I wrote my talk focusing on the proposal of the two projects I wanted to initiate whilst on the residency, already knowing my initial methods but most certainly prepared for feedback and suggestions. Debate and theological discussion amongst artists and groups of people is important in a world of verbal propositions and direct challenges. Art- Language was first published in May 1969, developed by ‘possibly the most misunderstood and controversial artists of all’ (Cork, 2016, pg. 76). Terry Atkinson, Michael Baldwin, David Bainbridge and Harold Hurrell were unified in an analytical action and published the journal with essays employing ‘the weapons of philosophical debate to substantiate their belief that art theory could itself be considered as a work of conceptual art’ (Cork, 2016, pg. 76). The artists disputed the idea that art was just a visual medium and ‘as a result, contemporary art was liberated in so many ways, and this exhilarating freedom continues to stimulate the most adventurous practitioners today’ (Cork, 2016, pg. 76).

The time came for the talk on a chilly Tuesday evening in the cosy cafe area of the arts centre. The turn out was much better than I had expected, interestingly all women regardless of the fact that the content of my talk was not advertised and so I began my spiel about both projects apologising for my lack of improvisation when public speaking, sticking religiously to my script. The atmosphere was relaxed and I welcomed questions at any point. During and at the end, I had a lot of interesting comments.

These soon evolved into a full discussion about my work and before I knew it I had so many suggestions and insights into research for it. Many were questioning what the word ‘rural’ actually meant and where the boundaries lie within it, I hadn’t realised how many times I had actually used it until that moment. A few challenged the fact that only men where documented in rural history and told me where I could see images of women’s labour in local museums and archives, this I must say I agree with and were glad that they didn’t feel they had to just accept what I said.  A few commented on the issue of the exposure of the women and children that I had given the cameras to and then the discussion moved on to the rural buses project. Some were concerned how I could really make a difference with an art project, some gave me their experiences of the bus system and their concerns for other users. I told them about some of the anecdotes that the people on the bus had told me during my research in the daytime and Anna went on to tell her story of her anarchist friends having theories that it is the governments way of pushing people out of villages and forcing them into towns where it is easier to control them. Which in actual fact does make a bit of sense I have to say. The conversation evolved and got deeper the more we went on, I found myself really enjoying the critique of my ideas and work.

This is when I realised how much I truly missed university. The value of having a room full of impartial, varied feedback about proposals of potential projects is incredibly important and so rare once you leave education. Artist Roy Ascott describes his own experience in education and the inspiration from his teachers in Tate Etc. Spring 2016. Ascott, taught by both Victor Pasmore and Richard Hamilton at King’s College, Newcastle was imparted a mix of ‘radically constructve, poetic, process based and conceptually rich aspects of art.’ (Ascott, 2016, pg. 22). Ascott considered his own experimental and influential Groundcourse at Ealing in the 1960’s to be a rejection of Basic Design Formalism and was actually in some ways ‘an extension of the very ‘developing process’ that Pasmore and Hamilton initiated, although more radically investigative into identity, behaviour and environment.’ (Ascott, 2016, pg. 23). Ascott said that ‘It is clear to me that the teaching I have received, from many sources in many cultures, has enriched my own contribution to the field.’ (Ascott, 2016, pg. 23).

Within a week I had conceived two project ideas, discussed them, developed them, began to work on them, wrote about them, severely doubted myself, had creative block, presented them, found inspiration and found confidence both in my ideas and executing them. The importance of discussion and conversation between artists is paramount to the work created. It not only challenges artists about their own and others works, but allows the artist to successfully draw inspiration from others and observe deeper thoughts and connotations within their own practice. Being an artist is being part of a global community that shares, interacts and asks questions like no other group and will continue to communicate in such a way in order to continue to ask the important questions, spark discussion among viewers and inspire.

— Chloe Alice Hayes, Mothershipper 6th- 13th January 2017

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Chloe Alice Hayes

We caught up with Chloe Alice Hayes (a Photography graduate from Arts University Bournemouth) about what she’s been getting up to since University & her recent experience on the Mothership Residency with Anna Best (co-founder of Force8).

About

Name: Chloe Alice Hayes Age: 25 Occupation: Artist Where do you live: Oxford/ London Education: BA (Hons) Photography, Arts University Bournemouth Interests / hobbies: Art, Gardening, Trave Website: www.chloealicehayes.co.uk

Tell us a bit about what you’re currently up to? 

I have just been travelling to South America which was absolutely amazing and so worth the 2 years it took to save for it. I then had a 1 week residency at the Anna Best Artist Residency in Dorset and a 2 week residency at Stiwdeo Maelor in Wales. I am now currently looking for a job involving the arts, hoping to move to London.

You recently worked on a residency here in Dorset, could you tell us a little bit more about that?

The residency was absolutely great, because I had not been practising for a while and it was amazing to actually speak to a fellow and very experienced artist, it really inspired me to work again and read into and think more about what I am doing by looking into texts and doing intellectual reading as opposed to just researching my subject. Anna, the residencies creator had organised for me to give a talk at the Bridport Arts Centre which was also so so helpful and made me realise the importance of discussion and critique outside of university. I used the residency to start 2 new projects, one regarding local rural buses that I wish to expand on to other areas. For this I rode on the local buses, interviewed the passengers and discussed the issue with locals. The second about the unseen elements of being a rural mother. This included researching and reading the issue, setting up an Instagram for mothers to share and giving local mothers 35mm cameras to photograph these issues.

How did you find out about the Mothership residency?

I found it on an arts opportunity website called ‘isendyouthis’. I can’t remember fully what the application process was like but I know I had to write a piece about me and my work and send in images.

What other opportunities have you been a part of?

Straight after The Mothership I went to Stiwdeo Maelor in Wales. This was a slightly different residency as I was there with a photographer from America and a writer from Australia. It was extremely beneficial to meet new people and discuss on an international level. There I also gave a talk in the Aberystwyth Art School and was able to talk to the creator, a PHD Print Student about art the the industry in general.

I have shown work in numerous places mainly Bournemouth and London. Here is a list of the recent showings:

2016 30WORKS30DAYS, 12 Collective Project Space, London 2016 Visions of Nature, Oxford House Gallery, London, Part of the Chelsea Fringe Festival  2016 Art Beyond Sight, Art with a Heart, Altrincham 2016 Got Mail?, East Bristol Contemporary, Bristol 2016 International Postcard Show, Surface Gallery, Nottingham 2015 Uncertain States Annual, Mile End Arts Pavillion, London 2015 Between Here and There, A Coal Collective Exhibition, The Old School House By-The-Sea, Boscombe, Part of Bournemouth Emerging Arts Fringe

Professional Journey:

I started learning AS level Photography at school and then went on to College to study it (alongside school) to study 3 other A Levels as they wouldn’t let me do just 2 in 1 institute.

I then went on to do a Foundation in Art and Design at the Arts University Bournemouth (AUB). I was told this was a good uni by my current art teacher, however they wouldn’t let me on my desired course without doing a foundation. I really did not want to do the foundation however I wanted to go to AUB so I did the foundation and absolutely loved every minute of it! It was one of the best things I have ever done.

Through this I then went on to do my degree in Photography. After this, I think I panicked so much about not being able to get a job in the industry I applied for literally everything going and even though I always said I didn’t want to teach, I ended up (during our degree show) being offered the ‘Artist in Residence’ role at The Purcell School - a live in job where I taught and assisted art lessons as a boarding tutor (as well as made my own work in between). 

I ended up absolutely loving the job even though it was super hard work and ridiculous hours (when you live at work it never really ends). I also loved working with the students and getting to know them better in the boarding house as well. Sadly though this was a 1 year contract that they did extent to 2 but that was the max. I knew I always wanted to go travelling and so used these years to save up. I went in September following the end of my job in July 2016. Within the job I also managed to do small shoots, exhibitions and other assisting work, all from the persistent trawling through arts jobs, creative opportunities and isendyouthis every Wednesday night and doing limitless applications and proposals that took so much of my time (but time well spent!). 

After travelling I was lucky enough to go on these 2 artist residencies and now I am in the process of looking for an art related job in London. I really want to live in London as it is the heart of the art industry and I would love to be exposed to more opportunities by being more available in the area, I also just love London!

What’s one of the main barriers for you and your relationship to the arts?

At the residency I had a slight mental meltdown about my confidence within my own practice. I wondered whether I was getting in too deep with a project and had potentially bitten off more than I could chew. I started to doubt my practice and wonder whether I really knew what I was doing and if I was going down the right path. It was actually quite difficult to get over and I started to think that I might stop making work, apart from the odd bit of shooting for my own enjoyment. I was asking myself a lot of questions however I did get over it eventually and my confidence was slightly restored if not a little battered afterwards.

Where do you see yourself in 5 years’ time? 

I honestly have no idea, at the moment I am applying again, for all the jobs under the sun. At this point in time I could go down any artistic route that lets me and I could be anywhere. However in 5 years time I hope to have a more varied experience and skill set under my belt and have potentially had the opportunity to work overseas.

Top Tips:

Apply apply apply!  To everything and anything in sight. It will take you hours and take up most of your brain power but it’s so worth it, you may only here back from 1 in 20 submissions but don’t ever think work or opportunities are just going to fall into your lap, you have to show people your work yourself, but I have never paid for a submission, I always said I would only start paying when I made money out of my work.

Always keep making work! It is never a waste of time or money, you never know when a very specific opportunity comes up with a very short deadline, always good to have a bank of work and also for your own personal creative enjoyment.

Sign up for the small things!  The sheer variety of smaller things I have done has given me a wider range of skills that I can then whip out for any application however small the example is. These include start up business shoots, workshops and assisting jobs. You have always got time to squeeze in a Saturday every now and again or after work, it really is worth it to have a packed schedule, you won’t get paid lots but the pool of skills you learn are totally worth it.

Anything else?

‘BE BOTHERED’ - The great words of Justin Quinnell.

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Some great news for recent graduates! The Weston Jerwood Creative Bursaries scheme is soon going to be recruiting again! This time with an international strand! Can we get an “OooOooo”? With funding confirmed from Arts Council England, Jerwood can go ahead with the next phase of the scheme helping to create 40 jobs for talented recent graduates from disadvantaged socio-economic backgrounds.  So if you’re a recent graduate, short of cash, can’t possibly work for free because of a low income household then it’s time to register as unemployed and get yourself applying to these great opportunities (when they become available). Samantha Gillingham, who we last spoke to on this blog, participated in the Weston Jerwood Creative Bursaries scheme - see that post & follow the above link for more info! 

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A great video of Samantha Gillingham who has continued to work for Activate after her internship! Fantastic! We met up with Sammy last week and asked her a few more questions about her career journey.

Name: Sammy Gillingham

Age: 25

Job: Projects and Promotions Assistant for Activate Performing Arts and Freelance Dance Practitioner

Where do you live: Christchurch, Dorset

Education: First Class Ba Hons Dance Studies at Middlesex University. (Graduated in 2013)

Interests / hobbies: Reading, yoga, running, baking (actually, food in general), photography, human anatomy, tea. 

Job Roles: 

My position at Activate encompasses three different roles. I am the Project Manager for both Dorset Youth Dance and the Activate Youth Board as well as the Project Assistant for Life Cycles and Landscapes.

My role with Dorset Youth Dance involves all the organisation and administration for Dorset Youth Dance Company and Feeder Class, and other projects under Dorset Youth Dance. 

As the Project Manager for Activate Youth Board I coordinate our group of young people (aged 16-25) for monthly meetings & group discussions, centred around Activate’s work. This engaged group advises Activate, with the aim of ensuring the work of the organisation is relevant to the young people of Dorset. Activate also aims to support this group with their personal and professional development with opportunities for skills development and cultural trips. 

Lastly, my job as Project Assistant for Life Cycles and Landscapes sees me assisting the project manager in all organisation for the project, which incorporates a private and public scheme of CPD residencies and performances inspired by the ancient Icknield Way, that stretches between Dorset and Norfolk. Activate is working in partnership with artists And Now:, the National Association of AONBs, Norfolk and Norwich Festival and Oerol Festival to bring this project to life.

I also work as a Freelance Dance Practitioner - I currently teach Dance for Parkinson’s, which is a movement therapy based class. These classes are becoming more widely recognised as a beneficial activity for people with Parkinson's, which is really encouraging to see. Pavilion Dance South West are one of the organisations really forging a path for Dance for Parkinson’s and I co-teach their model, created by dance practitioner Aimee Hobbs and Neuro Physiotherapist Dr Sophia Hulbert. Alongside this I am also trying to figure out my voice as a choreographer - to be continued! 

Professional Journey:

I guess, like most people, my professional journey began at school. I made my GCSE choices and then A-Levels, making the leap to college rather than 6th Form so that I could study Dance (& Performance Studies, English Literature and Biology) and then on to University. Looking back, I always knew that going to Uni is what I would do - the opportunity to continue dance training was the dream. So I researched courses and listened to advice from lecturers, applied to various universities, auditioned and then finally made the decision to attend Middlesex University in North London. Whilst at Uni, I tried to make the most of my time there. I was surrounded by my peers who were all passionate about the world of dance, by lecturers who were knowledgable, talented, compassionate and giving and London itself, which I love with all its culture and landmarks. I took classes and volunteered, for festivals such as Dance Umbrella, and as an assistant teacher for Chisenhale Dance Space, and I tried to take in as much as I could.

Once I graduated, I moved back to Dorset and continued trying to soak up dance experiences whilst applying for jobs in the arts sector. My aim was to try and gain experience working for an arts organisation - I felt as though I needed to plug a gap in my education, that “real life” work, especially in administration and project management; in order to successfully create my own projects in the future, this is something I really needed experience in. After a couple of, rather angst filled, frustrating and challenging, years I finally got a job at Activate as Projects and Promotions Assistant.

A year and a half later, I’m still at Activate - although my job is slightly different, as well as also exploring my freehand career. I would say that my choices are probably based on what feels right at the time. The aim of the game is to gain as much knowledge and experience as I can, for as long as I feel enthused by dance and the arts.

Tell us a little bit more about the Weston Jerwood Creative Bursary:

The Weston Jerwood Creative Bursary scheme is a programme that aims to get young, talented graduates from low income backgrounds into jobs in the arts sector, which are traditionally unpaid opportunities. My initial job role with Activate was supported by the WJCB scheme and in order to qualify for an interview, I had to complete a survey which included passing a set of criteria: I had to have graduated between 2010-2013, have gained a 2:2 or above and had to have received a full maintenance grant for my full time at university.

Alongside my paid role, the WJCB scheme also provided Activate with support to provide me with a mentor, plus training and networking days with the other 39 WJBC recipients. This scheme was a truly fantastic opportunity and one I am very grateful for.

Why did you move back home?

I would have loved to have stayed living in London, where I studied, but I very quickly came to the realisation that I couldn’t afford to live in the city and continue take up dance opportunities, which were mostly unpaid. For a while, I felt like moving home was a failure (another one of those social pressures that we give too much importance to) but now I’m glad I did - I have fallen back in love with my home county. Although I would never say ‘never’ to moving away again, it would have to be for the most amazing opportunity.

Where do you see yourself professionally in 5 years’ time?

Honestly - I don’t know. Yep - fully uninspiring, but I’m coming to realise that my career path is twisty and winding and so I can’t always see where I’m headed. I know that I’ll still be working in the arts, and a really hope I’ll be just as passionate about my work, if not more.

What do think are the main obstacles you see getting in the way of you achieving your goals?

The competitive nature of the sector - there are a large amount of hugely talented people continuously graduating from college or university or changing career, who are applying for a limited number of jobs in the arts sector. Plus, as we all know, it’s not only what you know, it’s who you know. I strongly believe that achieving career goals and being successful (whatever that means to you) is a combination of tireless hard work, passion and the aforementioned ‘who you know’. Having a strong and growing network of people is very important.

What were the most useful opportunities that have arisen during your journey?

Every single one - each experience and opportunity that comes my way shapes me, both personally and professionally. Take time to reflect on each opportunity, even if it wasn’t what you expected, it could still have a good outcome.

Top tips for getting a job in the arts:

Perseverance - If I’d given up in the hundred times I’d thought about it, I’d always have wondered ‘what if’ - now I don’t have to.

Networking - the dreaded word. There aren’t many people I know or have met that really enjoy networking, but it’s really important to get out there, get your face seen and meet people. The more you do it, the more you feel comfortable doing it.

Passion - I don’t know a single person who works in the arts sector who isn’t passionate about it. What’s the point if you don't love it, if you’re not inspired by it and if it doesn’t drive you?

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We spoke to Molly Scarborough who is coming to the end of her Internship with b-side under the creative employment programme. We found out about Molly’s creative journey so far and how important volunteering has been in the progression of her career.

Let’s start from the beginning:

Molly has always been creative and studied Art, Drama and Dance at GCSE level whilst studying music before and after school. Her real interest at the time lay in dance and Molly would go out of her way to get involved in dance opportunities, classes etc. When it came to college choices Molly chose two theatre courses and it’s here where she fell into the world of Theatre. After college Molly studied Theatre Performance at the University of Chichester.

During her three years as a university student Molly discovered she loved organising things and events management, she got stuck in with loads of different opportunities including volunteering for the university gallery and running other events in the theatre department. So… when she graduated she decided to gain more experience in this side of the arts.

Throughout the whole chat Molly stressed how important volunteering has been in the development of her career. Places Molly has volunteered include the following:

Music events

Theatre Festivals

Arts Festivals

Music Festivals

Galleries

From these experiences Molly has developed a voluntary role into a paid role where she volunteered for a music event three years running; she started as a volunteer, became a volunteer supervisor and then gained a paid role as a Volunteer Coordinator. Molly still draws upon ALL these experiences and has learnt to apply different skills and old experiences to new ones.

Molly began her job hunt in the September after university (after her trip to Edinburgh Fringe Festival where she flyered for a producing company, was a tech assistant for a one man show and volunteered at Forest Fringe). She applied for a job a day for 3 months equating to over 100 jobs. She never applied for anything that didn’t meet her personal aims and morals in order to ensure she would gain a role that would enable career development. Whilst job hunting, Molly volunteered at a local Arts Café to keep herself busy.

Unfortunately Molly didn’t have much ‘job hunting luck’ so she went away for a couple of weeks, and came back in the new year with a fresh and determined mind ready to find a job. It was during this time that Molly registered un-employed and this opened up another door! By officially registering unemployed Molly was able to apply for something called the Creative Employment Programme which led to a 6 month internship with b-side!

A side note:

By living in Southampton Molly found that there weren’t many local jobs, they were all in London so naturally she spent her time applying for London based jobs. Unfortunately it appears that if you’re not living in London you will be turned down by a London based job. She was relieved to be offered the opportunity with b-side and wasn’t afraid to relocate from Southampton to Portland.

Top tips from Molly:

Be prepared to go wherever the job goes. Although contradictory to this (apologies) still have merit to where you’re from. Maybe it’s a case of going away, gaining experience and knowledge and then returning back to where there weren’t opportunities and creating them - why not!

Go into any temporary role like an internship or voluntary role knowing your aims, objectives and more importantly outcomes.

Throw yourself into things, sometimes they may be out of your comfort zone but even from not liking a job you can still gain valuable experience.

 Keep trying, keep going.

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Dance has taken me across the country and the world, given me so many opportunities and I know it will give me even more in the future. I think dance in Dorset has stayed behind the scenes for some time, but it's slowly coming out and taking the community by surprise. The community seems small but I've come to realise that there are more dancers in Dorset than I thought. If I were to give any young dancers a couple of tips I'd say join dance classes and find the dance opportunities because dance is everywhere, you just have to know where to look.

Cody Levi, 18

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A post written for Medium Bare Performing Arts last year by ADC Intern Katie Cunningham. At the time this was written Katie was in the process of completing an MA and working full time in ‘Britain's Best Loved Coffee Shop’ for want of a better term. How have things changed since starting an Internship with TADC?

By immersing myself in the industry I want to be in I have found myself to be more passionate about what I do and I’ve been able to get involved in a massive range of different events such as The Complete Freedom of Truth. I have been inspired and, although some may see it as a negative, I have found out that I don’t want to spend my life in an office job- but at least I know where to direct my future career choices. 

Some people have questioned why I decided to apply for an Internship when I had previously been a research assistant for a prestigious university project and had the ambition to be a ‘Sadlers Wells Choreographer’. My answer is always this... to achieve ambition sometimes you need to gain contacts, more experience and personal (as well as professional) development. My Internship comes to an end next week and although, at times it has been a struggle, it’s also been a great experience. I now know what I want to achieve, who to contact to do this and what experience to draw on in certain situations.

These are just a few examples of the experiences I’ve had whilst being an Intern;

Digital marketing

Maintaining the website 

Research into the visual arts

A cultural and artistic exchange in Belgrade, Serbia

Attending company board meetings

Designing infographics and other marketing materials 

Attending a variety of meetings for different projects 

Met loads of people involved in the arts in Dorset 

And above all I have learnt that I want to pursue a career in the arts and stay in Dorset (which definitely wasn’t the plan as I was leaving University)

As you can see things haven’t been the same over the past 6 months. I’ve had the opportunity to tailor this Internship to suit my interests and to steer my career in a direction I’m happy with. 

So, my question is why should you say no to an opportunity like this? 

I would recommend an Internship for anyone who is fresh out of education and would like a short term role to be able to focus on personal development, gaining knowledge and understanding where and how to direct a career.

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YOUNG PRODUCERS 2017

Are you aged 16-19 and interested in the following?

The creative industries generally.

Learning about how to produce a public facing mini festival.

Working alongside Lighthouse’s programming team, and learning from special guest producers.

Inputting creatively and helping Lighthouse develop its offer for younger audiences.

Getting specialist input on particular skills eg. marketing, budgeting, contracting, event management etc.

Why not apply for next years Young Producers Programme? CLICK HERE 

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Have you seen this opportunity?

Aged 16-19 and passionate about animation? See link for more details!!!

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Megan Dunford is currently the Exhibitions and Participations officer for Bridport Arts Centre (BAC) and Dorchester Arts Centre (DAC). As well as both of these part time roles Megan is a freelance arts administrator and curator! We spoke to Megan to see how she got here.

After studying Fine Art at Cardiff University Megan moved back to Dorset and (as most graduates do- so don’t worry if you find yourself in this position) worked in a bar and a department store. After working in these jobs for 1 and a half years she was offered a freelance Internship at Dorset Visual Arts (DVA). Once she landed this role opportunities came flying in and Megan found herself working a day a week at BAC as am exhibitions assistance and before she knew it was juggling 3 part time jobs including working at DAC.

‘Whenever a young person walks into Bridport Arts Centre I feel like grabbing them and begging them to get more involved’

It was then Megan felt the need to let DVA go and focus on the Arts Centres. Megan’s role became increasingly more responsible and is now very busy with work at BAC and DAC.

‘As much as you get told that it’s not what you know, it’s definitely who you know.It isn't until you experience it for yourself you actually believe it.’

Megan wasn't afraid to step out of her comfort zone and try new things which is one of the main reasons she is where she is now:

‘I always thought visual arts was my bag but I really enjoy participation and would love to continue working with young people.’

We asked Megan what the main obstacles have been for her and like so many people the first thing she mentioned was MONEY! The struggle between pursuing what you love and maybe having to volunteer or work for free for a while and earning money is one that many graduates struggle with. However, If you network, take risks, have confidence and knock on doors the struggle will pay off and you will find yourself in a position you are comfortable with.

Megan’s top tips for young creatives are:

Talk to as many people as possible when you are trying to figure ‘things’ out!

Be willing to juggle and commit!

Don’t be too disheartened- if something doesn’t work out immediately, hard work and enthusiasm will take you far!

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Aged 16-19 and passionate about animation? See link for more details!!!

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I don't want to loose sight of why I do this.

Megan Dunford 

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Creative Development Opportunities for Young People

#3 Visual Arts

It’s always hard to know where to look for opportunities, workshops or classes when you’re not continuously searching- especially when you’re not aware of the organisations around!

This post is the third in a series that will give you a little guided tour of Dorset and the surrounding area. It shows the organisations that offer opportunities for young people to develop their practice/creative career!

Enjoy!

5 picks for young Visual Artists

Arts University Bournemouth, Dorset

b-side, Dorset

Shaftesbury Arts Centre, Dorset

Sherborne Arts Link, Dorset

Walford Mill Crafts, Dorset

Of course, these are only a handful of organisations that offer development opportunities such as workshops, short courses and exhibitions. We hope that by gaining a small insight into the goings on with the visual arts in Dorset you will be able to expand your knowledge, skills and career!

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Top Tips from Dorset’s Young Artists

We have put together a selection of ever growing tips from young Dorset based artists! 

Try as much as you can - You may not be aware of how many creative carers are out there or which direction you wish to go in. Without trying you might not be sure what you are good at and what you enjoy doing.

Don’t always say yes - Don’t feel like you always have to say yes to an opportunity that is presented to you as sometimes it may not be useful or productive to further your creative carer. If you are unsure of a situation allow yourself the time to think about it and decide what is best for you.

Value yourself – Remember, just because you are young and new to what you are doing, doesn't mean that you cannot charge for what you do! “

Be clever with how you word applications etc. use both your transferable and subject specific skills to sell yourself. Think about the role you’re applying for and skills it will require.

Comparing yourself to other is a big no-no. Everyone have their own individual path they will take to get to their ‘goal’. Others will get there in no time; others may have taken a detour. But we will all get there if you don’t stop persevering.

Be ambitious. Ambitions drive a person to be determined and strong-willed to be whatever they want to be.

Create good links and connections with people is a great way to start. 

The more you do, the more confident you get. 

You just have to tell yourself you’re good and good things will happen

Keep Going.

Never try to understand why you’re doing it, but always have a reason.

Know your worth and have faith in yourself

[artsdevco-blog]

4 young performers from Dorset, including ADC Intern Katie Cunningham, working on an international exchange with Theatre Mimart in Belgrade!

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Be inspired by Alice Blogg’s Creative Journey 

Dorset based furniture designer and maker Alice started her career as a joiner- because she loved the smell. Now, isn't this just the most beautiful reasoning to work as a joiner- I think so! This isn't to say that Alice’s decisions have all been this whimsical, she is clearly a hard grafter, has made her own opportunities and, for want of a better word, ‘luck’.

A journey of creating opportunities and good old fashioned hard work.

At school, Alice was always the ‘arty’ one and studied Textiles, Art, Product Design and last but not least Maths at ALevel. Naturally, at 18 she was unsure of the career she would like to follow so studied a foundation degree in Weymouth. 

‘If someone is 18 they shouldn't have to know what they want to do in life, there is so much pressure these days.’

After this Alice moved to Manchester to study 3D Design at University where she was in awe of the vast differences in the North and South of the country and found so much beauty in the industrial architecture. 

‘I was just lost, everyone is lost after uni, so I got a job in London. I was sat behind a behind a desk all day which just wasn't for me’

Alice quit her London job and moved back to Dorset, where she relentlessly begged a local joiners for work. They refused at first but after a few more tries she landed herself £50 to sweep the floors for a week, then she was set the task of constantly sawing wood outside. ‘I guess they gave me the jobs they didn't want to do, thinking I’d quit’. Alice soon became their apprentice and was later ‘lucky’ enough to become self employed and rented her own workshop, this was 7 years ago now.

Alice was determined to have her workshop and 3 1/2 years ago achieved this and now runs her own business with employees and apprentices! Most importantly it is a workshop with a view- one of the most tranquil settings (until the machines start whiring and sounding like they’re about to take off).  Alice has only ever made work for commissions which has enabled her to realise the monetary value of her craft, time and skills. She is also aware and passionate about her work being high quality, minimalistic and timeless. She knows her style and worth which came from self belief, passion to learn and most importantly time (so don’t worry- time is always on your side). 

‘Having faith in yourself, just going for it! Every human has something they’re worth.’

It may be nice to know that even the professionals are still learning and appreciate the thoughts of young people who are just as passionate about her work. 

‘I've worked with wood for 10 years now and still sometimes I don’t know. I'm still learning, at first I was quite naive but now I am keen to keep talking to youngsters to get their input and creative ideas.’

Alice Blogg’s Top Tips 

Keep Going.

Never try to understand why you’re doing it, but always have a reason.

Know your worth and have faith in yourself

[artsdevco-blog]

Creative Development Opportunities for Young People

#2 Music

It’s always hard to know where to look for opportunities, workshops or classes when you’re not continuously searching- especially when you’re not aware of the organisations around!

This post is the second in a series that will give you a little guided tour of Dorset and the surrounding area. It shows the organisations that offer opportunities for young people to develop their practice/creative career!

Enjoy!

5 picks for young musicians

Bournemouth Symphony Orchestra , Dorset

Bridport Arts Centre , Dorset

Dorset Music Service , Dorset

Opera Circus , Dorset

B Sharp , Dorset

Of course, there are plenty more organisations, artists and venues that promote the development of young musicians but we decided to share these with you to help start your search...