The process of making art: CUVPRP603A Developing a professional approach to creative practice BSBSMB408B Manage personal, family , cultural and business obligations

CUVPRP603A

Developing a professional approach to creative practice

BSBSMB408B

Manage personal, family , cultural and business obligations

Who i am as a practictioner

Tristan Griffin , is an emerging artist in the tweed shire, currently studing Advanced Diploma at the North Coast Institure of Tafe, majoring in contemporary sculpture.The primary focus of his works is the exploration of the relationship between religion, contemporary society and the human condition through sculpture, drawing and painting.

Where i operate from

My practice is located in Kingscliff NSW, a coastal town just south of Tweed Heads in the Northern Rivers region of New South Wales, Australia. Kingscliff is a beach community and a tourist destination that provides beach and estuary access for swimming, surfing, fishing and water sports. It also has a thriving arts community with kingscliff arts, KPA, the curious art gallery(Chinderah villiage) and various venues for artist to exhibit.

Currently a deacon, as of mid 2014 I commenced stage design and creative input at C3 Kingscliff.

Connections through the church community have led to commission artworks and the venue for first solo exhibition.

What structure is my current business practice , what were my other options

Currently registered and operating as a sole trader/student out a home based studio, which is a single garage attached to the kitchen of a rented three bedroom, two storey, unit located in Kingscliff. The studio space is semi-public(which required public liability insurance), where I invite collectors and potential commision clients to preview new work and stay for extended discussions. By running an artists studio I am given creative freedom depending on the nature of the work being executed that I would not be allowed in a corporate environment. It it important to note that while there is greater creative freedom it is often the nature of self employment that the average work hours will be longer and there is the uncertainty of financial security.

Financial success seems to be the measure for artists in todays commercialised digital society. Todays contemporary art heavy weights such as Damien Hirst , Takashi Murakami and Jeffrey "Jeff" Koons actively “brand” themselves.

“The signal drama in new art lately involves a struggle not for esteem and influence—the wonted dreams of artists—but for commercial viability. If you like a certain artist now, it’s hard not to be caught up in rooting for him or her to sell. Simply no other way to gauge, affirm, and discuss quality is in working order.”^¹

As they have branded themselves, I do find the creative approaches to their pracitices enticing as they are all interdisciplinary and explore a wide range of mediums, concepts and markets.

Financial success tho isnt my primary goal in my artistic practice. My vision of professional success is to have a self sustaining studio/property where i can teach from and make work from to exhibit and the flexibility to be able to travel internationally for work. My personal commitment to being an artist is on a spiritual level, as my artwork is an outworking of my faith and my work reflects my beliefs.

To achieve success my objectives in the next 12 months in business and professional focus are:

become a legal business (completed)
NAVA premium membership (essentially recognition as a professional artist currently a member of the ceramics association)
complete BA in fine arts at south bank university
work out how to transport artworks or make transportable artworks
purchase of motorcycle (assist in transport cost)
participare in a group exhibition
hold a solo exhibition
participate in competition
ground my methodologies and techniques in 2D and 3D.
prepare a professional portfolio, brochure and website
research 20 companies in my chosen markets
test out online sale of artworks including delivery

five years :

hold a solo exhibition
hold a group exhibition
hold an art competition
have a well-developed mailing/contact list
identify an interstate/international market, identify the main potential buyers in it and contact 20 of them
assess whether my skills can be diversified to other markets

regular exhibiting artist ( 2+ times a year)
full time employment either as a institution teacher or private teacher/tutor
establish sustainable income as commercial artist

ten years :

purchase of land, establish permanent studio
sustainable international client base
established professional network and patrionage
holding solo and group exhibtions
holding an art competition
hold artist retreats

As the provider for a family I do need to consider the need for financial security and as such the potential consideration for entering into a large organisation or educational institiution as a teacher.

While working in a large organisation or institution provides potential financial security , it can be an environment that does not promote individual creativity. From what I have experienced in the games and commercial television industry, and from what I have disgused with Justin Garnsworthy in printed news media the trend was to do what was safe and profitable and the focus was to make the deadline and clients demands rather than creative integrity. From my disgussions with fulltime art teachers it seems that there is very little time left for their own creative arts practice but it does give them a readily available peer group.

Analysis of studio space

As an artist the studio space is the center of my practice, and sculptor, painter and being prolific in the creation of my work this space is dynamic and often cluttered.

Below is a panoramic image of my current studio space.

As you can see it is currently cluttered as this photo was taken directly before my first solo exhibition in kingscliff. This space has two entrances, one at either end. The internal door way leads into the laundry/kitchen and provides the majority of airflow as the other into the shared driveways of the complex. When working with toxic fumes or dusty material both doors are opened for maximum air flow if having to work indoors is unaviodable, otherwise use of the private backyard is used. Since this space is used for painting and has computer equipment in it I try to aviod creating dust as much as possible.

Storage and display of artworks

My intention is to setup a storage rack for 2D works and paper stock and temporary wall paneling so that i can display current works in the space as part of my ongoing professional practice and declutter as much as possible. Storage and temporary display of the artworks is at the garage door end, apporximately half of the studio space is dedicated to storage.

There is an internal cupboard in the center of the room, most legacy paintings and drawings which I dont intend on displaying are stored here. This space was chosen as it has no natural light, safe from damage but is easily accessable. NAVA recommends that you DONT continue to store work that you have no intention of ever exhibiting, I am considering a major reduction of these older works as they are cluttering my limited space.

OH&S

As part of OH&S my current method of chemical storage will have to be reviewed asap, I am storing chemicals such as turps, metho and spraypaints on a high shelf, having a small child now I am going to have to purchase a lockable cupboard. The room itself is lockable but there are many dangerous tools in this space making it unsuitable for children.

I found that it was very easy to slip into a project to project mindset when purchasing materials and tools, as I had very little at the start of my arts practice, and found that they became forgotten or lost and began to deteriate, especially since I live so close to the beach , rust would start easily. As a result I have begun to create storage locations for my tools and materials. Offcuts of timber and wire are kept near the garage door and tools are located in the center of the room for ease of access and specialised tools ie paint brushes, paints and ceramics/sculpting tools are located under the main work bench.

Protective clothing such as masks, ear muffs, goggles and gloves are easily accessable and often needed due to machinery use.Additionally correct use and saftey is observed with the use of powertools (I was taught to respect tools at all times or lose a finger) A First Aid protector kit is located in the kitchen(attached to the studio) , a fire extinguisher is located in the studio near the internal door as is the fire alarm.

An attempt at all times is made to keep the exits clear regardless of how cluttered the space gets.

The cluttered nature of the space will have to be addressed asap as this is a potential future hazard and not conducive to a productive and creative environment or to relocating the studio.

Council reculations and zoning

The studio is currently located in a Residential Zone and is a part of a body corp, as such I have to adhere to noise polution regulations as well as body corp regulations. Noise curfew for powertools for kingscliff starts at 7pm till 7am but the body corp stipulates 5pm till 8am. The body corp also stipulates that shared spaces, ie outside of garage, need to be kept clear as much as possible, meaning that use of powertools has to be done in our back courtyard(much to my wifes distress).

Adopt professional work practices and ethics

In 2013 I began taking on commission portraiture, it was at this time that I established a professional work ethic with clients. Payments, pricing , time schedule

Diligentia ad siera , diligence and excellence

Integrity

Excellence

Discipline

Diligence

Flexibility

Integrity

Integrity stretches to all aspects of an artist's practice. Integrity fosters trusting relationships with clients, peers and galleries. Peers value the ability to give honest feedback. Clients trust the artists advice and promises. Galleries rely on the artists high moral standards, trusting them to act in a professional manner.

Excellence

Some artists do only the bare minimum, just enough to keep their pratice intact. Artists with a strong work ethic care about the quality of their work. They do their best to produce great work, not merely churn out what is needed. The artists commitment to quality improves their practices overall success.

Discipline

It takes a certain level of commitment to finish tasks every day. An artist with good discipline stays focused on his goals and is determined to complete them. often put in extra hours beyond what is expected, work at a consistently fast pace, artists with good discipline are often highly productive. They commonly get large amounts of work done more quickly than others who lack this work ethic, as they don't quit until they've completed the tasks with which they were presented.

Diligence

A zealous and careful nature in one's actions and work, decisive work ethic, steadfastness in belief, fortitude, and the capability of not giving up. Budgeting one's time by monitoring their own activities to guard against laziness. Being on time and meeting dealines. Upholding their convictions at all times, especially when no one else is watching.

Flexibility

The ability to adapt to changes in all situations and make the most of any situation. For example saying yes to opportunities and adjusting to meet changes in financial climate, family situations, studio space and financial availability.

As I make my work about my beliefs adhearing to strong ethics/morality is integral to my artistic practice as I believe that a good work ethic needs to be supported by good character.

Family emergency comes first, i will not sacrifice family for work, work can always be caught up on but family moments only happen once. As a christian we are often asked the question of where our priorities lay. For me its God, Self/Faimly, Church, Work, friendship then everything else. And I attempt to adhere to the virtues of joy, peace, longsuffering, kindness, benevolence, faithfulness, gentleness, and self-control.

Operating an art studio also needs to adhere to a culturally appropraite work ethic.

As a father, disabled pensioner and active member of the kingscliff church community there are commitments that are important to me that impact the time available for studio practice.

personal:

prayer, family, relaxation.

relaxation time is spent with family, I need to be at home(4pm) to spend time with family ie family dinner night(monday) and pizza/movie night(tuesday) birthdays, school events. New BABY which requires alot of time and lack of sleep and teenagers without transport for appointments. Time with wife, date night, shopping and leasure etc. Domestic , cleaning floors, dishes , cloths washing etc

physical health limitations:

daily exercise to compensate for reduced mobility , pain . This is done through the practice of qi gong accompanied with prayer. Included in this is doctors visits bi-monthly, daily medication and a daily restricted diet.

cultural / religious:

Weekly church service attendance (Sunday), service at C3 church as deacon when rostered and stage design/creative input(weekly), attendance ministry and prayer meeting monthly. Monthly free public BBQ, driving children to DNA and youth group (weekly).

Personal work hours

Weekdays my work hours begin at 5am till 5pm with allowance for extra hours late at night to meet deadlines, saturdays tentative dependant on deadlines and non-working on sundays due to cultural commitments, i will not take work calls after 5pm or before 8am weekdays.

Public work hours

in the current cultral work climate of the kingscliff area individuals work any day of the week.

regional galleries are generally open wed-sun 10am – 5pm

general public work hours 9am till 5pm

gallery openings are generally 6pm or later

Collaborate and communicate with other professionals

In todays digitially dominant world the way we collaborate, network and communicate with others professionally is changing. Artist Heather Dale says being able to reach out to your "tribe" has become easier than ever as it is just a button click away. By making use of social media such as facebook, instagram, twitter, blogger etc the artist is able to exposure the public to their artworks and to develop a client base, and by creating a dedicated website/page for posting professional art related images and updates for clients and enables the artist to quickly send personal messages and invites to people on this list.

This method is FREE and enables the artist to build quickly and maintain a list of contacts that are kept upto date and informed as your practice grows and changes. A more traditional method is to keep a hard copy mailing list and send snail mail, this method tho is labour intensive and requires financial outlay.

It is important to set aside face time with your professional contacts and network, such as:

running of a small creative group, for me I could do this as part of the C3 churches DNA group (fellowshipping)
attend art classes at the 'kingscliff arts' classes held by Jillian, Hobie etc
attending art exhibition openings
attend art/creative lectures
becoming involved in professional groups (NAVA, flying arts, ceramics association, co-ops such as curious art gallery)
doing volunteer work for galleries, swell festival, workshops

Running a small business is a difficult task, it is said that most small businesses fail (washington post, forbes etc) so seeking suitable specialist expertise helps alliviate the daily presures of running a studio.

Business:

accountant , solicitor, book keeper
insurance brokers
representation by a gallery
agent
business advisor
equipment suppliers

Marketing:

Advertising agency
PR ( eg Brett Whiteley upon returning from England , Damien Hirst, Saachi, Jeff Koons)
Image consultant

Technical professionals

Printers , for catalogues , flyers , didactic panels
website designers
capenter, forge, kiln owner
photographer

Identify negative impacts on the successful operation of the studio practice

The key areas which I believe have the potential to negatively impact my studio practice are:

family commitments and interuptions - As the studio is attached to the house I am often interupted for a 'chat' by family and friends and due to one car transport and a baby I often have to take time during work hours to drive family members to and from appointments.
limited finances - currently my art finances are limited to profit from commissions and goverment suppliments.
studio space and shared spaces - the space is small and cluttered often with multiple projects in different disciplines being created at the same time, the shared space (courtyard) causes distress to my wife as it gets dusty and noisy (cutting timber, metal etc) and if I am using chemicals (vapors and spray paints).
Regionally/kingscliff based and physical studio location – need to travel to access professional/cultural/arts network, studio is attached to house in a body corp estate.

Plans and strategies to minimise negative impact on studio practice

family commitments and interuptions -

set aside time to have family dinner , this allows us to keep upto date on whats being going on during the week , and if there are any problems/appointments that need to be kept
wife – set aside time to spend time with wife , make sure she gets sufficient access to the car during the week
baby – set aside time to spend with baby , read to her , tummy time etc spend my "relaxation" time with her and the other kids
older children – setaside one afternoon till evening to spend time with them
extended family – include extended family in events , ie BBQs , birthdays etc
family comes first, studio time works around family commitments, get up earlier(4-5am) in the morning as most family members dont wake up before 7am

limited finances

plan ahead and allow for budget on new art projects (set aside money purely for art equipment purchases) currently my income is split, I contribute enough for a comfortable lifestyle for my family and the remainder goes towards my studio practice. This remainder goes towards materials, petrol, course fees etc.
Create a separate bank account which is reserved for arts practice only

studio space and shared spaces

Declutter space by throwing out works that will never be exhibited.
Set aside a portion of the space for the display of the works.
Unable to currently resolve shared space issue of the courtyard but I can minimes noise by waiting till family members are out of the house.Minimise chemicals by closing windows and doors of the house near the vapors while working with them.

Regionally/kingscliff based and physical studio location

purchase of motorbike to reduce cost of travel to events which also gives access to the primary vehicle to the family
consider relocation

Additionally it is very important to do regular SWOT analysis for maintaining a business practice.

Below is my current SWOT:

Strengths	Strategies
Fast working and learning Technical and conceptual skill Able to do repetitive/intricate tasks Computer/technology savy	Improve time management Refine skills to perfection
Weaknesses
Family commitments Lack of finance for advertising and studio Restricted studio space Poor public speaking ability	Improve time management Find suitable alternatives Keep space clean and make optimal use of space Take a course on public speeking
Opportunities
Active member of community Presence conference Unique approach to art concept and execution Access to a free space to exhibit	If you have friends you have fans, continue to develop and maintain a social network Refine techniques to professional level Host art/faith related events
Threats
Artwork is not currently 'trendy' Poor financial backing Bad climate economically in australia	Refine artworks to perfection, consider avoiding ciche christian imagery Work to current budget, seek grants and patrons/benefactors Expand client base internationally and create works that suit those clientel and transportation

Analysis of the skills and knowledge needed to operate as a successful creative practitioner

Below is a table covering creative, financial, interpersonal, practical and promotional skills, i have ranked them 1 – 10. 1 being weakest, to evaluate my strengths in each area.

8	literacy skills to interpret varied information dealing with complex issues from a range of sources.... all the things necessary to take into account to build a successful practice
7	planing and organizing skills to take what you learn and organize it into an effective plan
9	learning and self management skills – be able to engage in on-going and life long learning and professional development
10	problem solving skills ... find solutions to things that come along to thwart you
10	internet skills... for business, also for research of new ideas for works, contact w/ galleries, artists, opportunities Australian Prize Planner
5	financial skills to runs a small business
6	calender skills , so you dont miss deadlines IE a range of professional pratice skills are needed by creative practitioners
5	people skills... confidence to approach industry people and not feel like an idiot or nervous or in awe etc & not to be at a loss for words
3	collaborate with others on practice development issues
7	interact with others creative and business professionals on management and development issues
6	ability to talk w/ confidence and authority about your work in an industry situation... be convincing ie know your work!!!
9	research and evaluate information and ideas from a wide range of sources
8	reflect on complex issues and make judgements and decisions about those issues

Further professional development

Continued education at university next year will assist in improving the weaknesses that are apparent in the above table, in particular collaborating with other artists, public speaking, professional networking at running of small business. Attending and potentially running workshops will be an ongoing part of my practice as will professional memberships such as NAVA, flying arts and the ceramics association. Attending more gallery openings will assist in me meeting gallery owners, hearing how artist talk about their work and meeting other professionals and like minded people.

What I do need to take on board is making more use of my strengths, my digital background could greatly assist in my artistic practice in the short term, and I need to allocate time to it and make it a part of my regular arts practice as currently I am disregarding those skills.

Ongoing practice and keys to success

As Hippocrates said "Art is long, life is short, opportunity is fleeting".

So for the ongoing success of my artistic practice I will need to consider and apply the following

PLAN ART CAREER & STRATEGY , what does success look like, plan a vision and strategy, implement it and stay with it
Brand myself, what is unique about me and my art
Protect copyrights
Behave like a professional , Integrity is more important than the art itself, reputation rules
Document everything, photograph every artwork and process
Promote myself shamelessly, make my art available to writers,producers,all media magazines newspapers, T.V /radio spots
Structure pricing, how to price artworks in a manner thats sctructured and makes sens
manage money, set up billing practices and create a poicy for art businessman
Multiple income streams, work smarter not harder. Create additional income and another way to promote my art
always be a student, continue to grow though continued education, read and watch every day. Just do it and learn from the mistakes

Common traits of successful artist

Art is the core of their lives, they wake up and go to sleep thinking about art. They carve out time in their day making art or marketing it.
Successful artists understand how business works in the art world
Successful artists have a strong work ethic
Successful artists are resilient. They know that success does not happen overnight – it requires hard work
Successful artists spend time only with people who are 100% supportive of their art career