Personal Professional Developement

Personal Professional Development

Professional Practice Day at the Harley Gallery

07/10/15

The visit to the Harley Gallery this year was a lot different to last year, due to the fact that we had previously written a list of questions to ask each of the artists there, so as to get an idea of what it was actually like to work in a variety of different fields within the creative industry. I was most interested in the textiles artists and the Florist, since I am interested in fashion and floristry, but still paid close attention to what each of the different artists had to say about their careers.

Hope and Elvis: Textiles

At first didn't have any interest in doing textiles as a full time job, but later went to NNC to take a course in it. She has been in the Harley Gallery for almost 10 years, and even though she is a textiles artist, she isn't really a 'maker', but more of a 'teacher'.

It isn't something sustainable to live off of, as you don't make a lot of money, and is more of a hobby and lifestyle. It is a 24/7 job, whether she is in the studio or at home, since it is constantly on her mind, but is worth doing it in the long run. However, since it is a 24/7 job, the pleasure has been taken away because it is a job, something she has to do, rather than chooses to do, and because of this, she cannot do what she wants to do within the studio.

Richard Hartley: Guitar Maker

Originally a wood carver and a musician, he took a course in furniture restoration before deciding to move on to guitar making. He has been in this field for four years since, and has been working with wood for over 30 years. It is a very labor intensive and consuming process, taking up to 6 months for one guitar to be produced. It is all done by hand. All influence comes from Spanish Guitars in the 1850's. 

It would be a sustainable job if he had gone into the craft at an early age, but because it is such a labor intensive and time consuming craft, it is a dying trade. The guitars do sell, and for quite a bit, but with so little being produced, it doesn't equate to a sustainable lifestyle, however, he is happy with the way everything went. 

Ashley Thomas: Illustrator and Surface Pattern Designer

She had never always wanted to go into the illustrator, and was forced to become a freelance illustrator because of the recession. She wanted a secure job.

It wasn't a sustainable job at first, and first started working as an in house illustrator and designer. There are pro's and con's to working in the studio, and her experience has been a huge learning curve. Her work eventually became more commercial because it was more sustainable, and this way, she got a contract designing patterns for Debenhams. She constantly runs out of idea's, however she has to have idea's to get paid. It isn't an easy way of living , and it is mostly digital based.

J.A Alcock and Son: Clock Conservation and Restorer

Went into clock restoration after watching his dad fix an old grandfather clock, and eventually, taking apart and fixing clocks himself. He originally went into a corse of watch restoring, but found it want for him. The trade required problem solving skills and you need to be active. It is also something you have to enjoy doing. It can take anywhere between 2 days and months to repair a clock. It is another dying trade because no one wants to go into it. 

It is a reasonably sustainable job, for something you enjoy doing, as he had always wanted to go into the trade. 

Kyra Cane: Ceramicist

Originally, she used to teach, but then went into the trade. it is very hard to break free upon starting, yet is a sustainable craft. It is something that takes a long time to learn, and is something that isn't taught as much anymore. It is a very time consuming craft, however it is something that allows you to become extremely creative. You are constantly doing something from beginning to the end of the process. She is self employed and works through galleries. she also does a lot of commissions. 

Thoughts

Overall, I enjoyed this experience at the Harley galleries a lot more that I had in my first year of college because instead of just walking around uninterested, the task we had been set to gather questions meant that we were listening to the artists who worked there to gather our information, making a lot more interesting. I also visited a lot more different workshops, and avoided any artists who were overly negative so as to get the most positive experience possible. I learnt a lot and will take into account what I have been told.