Students

Passion projects and performance

Mitra is a freelance artist/educator, creative producer and associate lecturer. She graduated in 1998 from Fine Art (Combined Media & Arts) at Sheffield Hallam University, where she went on to study a combined theory and practice Mphil. Focusing on Contemporary Iranian Women Artists Mitra then completed her PhD in Fine art in 2006. She financed her studies through live performance work at Area 51, which involved performance, production and costume design. In coordinating a wide range of events across the UK and abroad Mitra acquired transferable skills for her current portfolio career as she exhibits nationally and internationally.

Working on a project-to-project basis Mitra’s creates inspirational dialogue and exchange through varying creative practices. Involving socially engaged projects her practice is concept driven working with a range of media including writing, performance, sculpture, installation, video and illustration. Her involvement as a board member of a-n and advisor to AIR has been a key element in her professional development and profile, furthering involvement in the wider art scene beyond personal practice.

www.memarzia.org
www.a51uk.com

Have you stayed in the same city of the university/college at which you studied? Why did you chose to stay or go…
I left Sheffield and moved to Birmingham in 2003 during my PhD. Reasons for this were mostly to do with my performance work at the time and the prospect of a new city and new connections to be made. In being more centrally located it was easier to get to more places, which was a big plus.

I regret not making more contacts in Sheffield at the time, but my PhD demanded much concentration, which resulted in a few years of working mainly from home venturing out only for research and performance work. However, toward the end of my PhD, I felt more determined to ‘get out there and meet people’. The effort to make connections has been key in tapping into and creating opportunities for projects and collaborations. Attending exhibition previews, taking part and contributing to a range of relevant dialogues, symposiums and events continue as the most effective way of developing my career. Being proactive and making time to meet people, sharing contacts and opportunities and just having conversations and getting to know people without the pressure of “must network… must promote myself” has always been very effective in creating lasting and effective links.

What did you perceived you might do after college/university and is this divergent or convergent with what you are doing now?
To be perfectly honest, I always knew that I wanted to be an artist, what this entailed… I had no idea what so ever. My perception of success, and what it means to sustain a career as an artist was a big mystery. Now I am an artist, my time is occupied doing a lot of seemingly different work, whilst endeavouring to make sure I don’t loose sight of my artistic aims.

The balance between paid work and what I would call “passion projects” (projects that don’t pay- but are absolutely what I want to be doing) is one that is always a challenge, but one that I think is a major aspect of the freelancer portfolio career artist.

Who is the most unlikely person to have influenced you since graduating?
Some of my most surprising influences have been from negative experiences, set backs and what seemed to be failures. I have had to delve deep in understanding whys and wherefores and respond positively, being more creative and determined in making it work the next time.

I remember a tutor once saying, “I suffered so should you”… this took me a while to understand, but I feel that this was one of the key statements I have returned to time and again. The question of what is success and how does one measure it, is one that I have found to be extremely useful. Making the most of ones circumstances, existing connections and networks is the first step. How artists wait to be discovered is a myth in my view, or a rarity. In any type of transaction, the most effective way to ensure continued “success” is to create “win-win” situations. Why should a gallery/ organisation/ individual be interested in you? Finding out about what they are interested in and how/ if there is a connection puts you in a much stronger position.

When you were studying, what advice/support did you feel was missing?
Whilst I was studying there wasn’t an aspect of the course around Professional Practice. We had visiting artists; as these were mostly inspirational as a student I was often left feeling daunted and confused about how they got to where they are. If your university or college does not offer Professional Practice training, perhaps get together as a group and ask if this would be something they could offer. Alternatively there are a lot of courses and resources such as the a-n sites that offer practical and anecdotal guidance.

What other information or advice can you provide?

Work with your peers
They are already your contacts and who knows where you can take things together once you are out there is the “real” world. Also, make time to visit exhibitions and research artists/ organisations/ collaborative groups that interest you. Start making outsider links as early as possible.

Be in the know
There is no secret collective of being in the know when it comes to opportunities, exhibitions and events. Best practice is to locate the ones you like and become a fan, subscribe to RSS and News Feeds tailored to your interests. Keep updating your knowledge; identify where the gaps are and making the most of resources and opportunities that are out there.

Keep focussed and be flexible
There is no singular path leading to “success”, make your journey as interesting and inspiring as you can. If you veer off into an unexpected place, which we all do from time to time, as long as you bring the focus back to your core aims you will always come out of it better off.

Be professional
Word of mouth and recommendations are always the most effective promotion. You never know where opportunities will pop out from, its always best practice to be professional in your relationships with people and organisations. Be consistent and reliable, word travels fast as your professional profile is the centre of your activities.

Make time to play
Whilst juggling all sorts of activities, one key challenge for me is to make sure I have time to experiment and play with my art practice. Far too often the day to day running of a portfolio career can take over so make an effort to return to your art making as much as possible if you intend to continue your studio-based practice and exhibit.

Look out for other Professional profiles on Degrees unedited: they are intended as informative yet short pieces of content for you to make use of and gain inspiration from so let me know if they are working.
richard.taylor@a-n.co.uk »

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Richard Taylor

Richard is an artist/writer living in Edinburgh and online editor on behalf of a-n The Artists Information Company, for the Degrees unedited and Students community sites.

www.rich-taylor.co.uk

First published: a-n.co.uk June 2009