In our latest discussion, UK-based artist Joey Toogood offers a vulnerable insight into her conceptual works that explore themes of trauma, identity, and feminism. As a Queer woman, she passionately articulates her journey through art, celebrating her body and its complexities while challenging societal norms. Toogood's multi-layered narrative is deep and definitely one of empowerment, self-expression, resilience, and a commitment to honouring the history of women in the arts while forging her own path in a contemporary context.

We're ever so grateful for this intimate interview, and invite you to follow Joey's journey by visiting her portfolio and allowing yourself to get lost in her thoughtful work. In the meantime, read on to get the full picture. 

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Describe your artistic process from conception to completion. Could you walk us through the steps of your artistic process, starting from the initial idea to the finished piece? How do you develop your concepts, and what are the key stages in creating your final work?

When it comes to describing my creative process I wouldn’t know where to begin, my brain is a frenzied mess and a jumble of half-finished thoughts. I struggle to label my practice and it’s taken years to settle on identifying as a “multidisciplinary artist”. For years I thought I was a drawer, a photographer, then an abstract painter, and most recently a body printer. It turns out, I am all of them; I don’t have to confine myself to one title or one process. I create whatever comes into my head and I am not restricted to one method. After coming to that realization, it felt like a huge weight had been lifted off my shoulders; for so long I observed the creatives around me that easily fell into one style and one medium, I was so envious of their established practice and strong sense of self. It was so crushing to witness peers mastering their unique gifts and feeling like I lacked. It took me years, but I have finally grasped that I am a woman who speaks through visuals; I portray feelings through various methods and convey experiences that I am unable to put into words. I am intrigued by more than one process because I am fueled by curiosity and play, and there is nothing wrong with not sticking to one discipline. I am not a failure as an artist because I don't have a signature style; I am a mess as an artist and as a person and that’s ok!  I have many interests, it feels like a crime to limit myself.

 

As I said, I am multidisciplinary; I am intrigued and led by process and experimentation with fast, unpredictable results; I like to f*ck around and find out. I am inspired by music, emotions, and relationships. Screw it. Everything I experience changes and influences me for the better or for the worse because I am human. But as a visual person, I process through creating. I channel every encounter through my art because it is my therapy and my voice. 

 

My chosen medium varies; sometimes I am inspired by found objects, like newspapers flyers or stickers. Other times my ideas are influenced by interests such as photography and sketching. Predominantly, my decisions are influenced by what is most readily available to me as I am both impulsive and money-conscious.

Elaborate on the creative process: is it an outpouring of the soul, a free flow of the mind, or a combination of both? Does spirituality play a role in your creativity?

I grew up in a Christian family where god was a constant character in my childhood. From a young age, I knew I didn't believe in an almighty man in the sky who dictated our existence on earth and would punish us if we didn't fall into line. Something about a book thousands of years old written by men just doesn't sit right with me.

 

The older I get the more I unconsciously align myself with spiritual beliefs. For me, spirituality is something I practice through the choices I make and the lifestyle I live; I consciously consider my role in society, how my choices impact those around me and how I will get everything I need, everything my soul craves when I am ready and healed to receive it. I'm not talking about external, material or superficial desires but desires of the inner person. If I'm not ready, if I'm not healed, if I haven't put in the work, I won't grow and become the complete version of myself; I have to be ready to receive the next version of myself. I imagine it like a character in a video game, I can’t level up if I haven’t put in the work. 

 

Spiritually isn't about narcissism or about giving to receive, it's about evolving, making better choices and considering others when you make them. As a human being, I am still flawed, as are others, but I believe that self-awareness and consideration are crucial. This translates into my artworks through studies of the self. Analysing different aspects of who I am and celebrating my individuality is important to me; I have recently started sketching my nude form. I hope that over time with more practice and confidence, I will sketch others. By modelling my form first, I am practising my skills and developing a unique style. Sketching myself in the comfort of my own space allows plenty of room for error; there are no pressures or expectations. Similarly, I enjoy self-portrait photography; I find it to be a very intimate time alone, like self-care. I always feel good after a photography project or after a quick sketch, regardless of the outcome, it feels mindful. Art is healing the rocky relationship I have with myself; by looking at myself through an artistic lens, it heals the self-critic. Treating my body as a tool to create something beautiful or interesting shifts my negative perception.

 

It's a privilege to be able to share these intimate parts of myself through my art. It's like having people watch you run a sort of race; the positive and supportive words I receive from both friends and strangers are so motivating; it keeps me moving forward and reminds me that I am doing a good thing. The reward from my work is seeing my ideas resonate with others; it's not just a personal journey, it brings comfort and encouragement to my audience too.

 

There is no separation between Artist Joey and Kitchen Assistant Joey. My practice addresses real and ongoing struggles; it tears apart every wound I have and allows my audience to be a spectator to every struggle and mental breakdown I have. I used to be ashamed of my inability to conceal my internal battles, I have always been very vocal about my problems but as I grow, I choose not to whine about them but create from them. 

Reflect on your favourite creation and the reasons behind your choice. Could you tell us about the most meaningful piece that you have created? What makes this piece particularly significant to you, and what was the inspiration or story behind it? 

During college and most of my time in higher education at the University for the Creative Arts, I struggled to connect with a specific process or specialise in one medium. Learning and mastering traditional painting and drawing techniques was challenging; I could not understand why my brain was so disinterested in studying colour theory or shading or why, after four years of studying Fine Art, I still did not have a unique style. For years, I drifted through various projects and themes but nothing stuck; I had no patience for repetitive pieces that required long-term studying and commitment. I criticised myself for not being able to perfect light and shadow tones or grasping the skill of perspective and scale required for still life. For years I felt like a failure watching fellow students define their unique styles and discovering their niche passions; I could not paint and I could not draw let alone pinpoint what themes interested me enough to want to shape my abilities (or lack thereof). I wasted my time in isolation in 2020; instead of embracing those uninterrupted months of lockdown to start over, I all but abandoned art. I floated through 2 years of university, still experimenting, still unsure, and still frustrated that I couldn’t settle and connect to any solid ideas. However, I became more and more intrigued by abstract painting using non-traditional tools like mops and window wipers. 

 

In my third year of University, I got sexually assaulted by an ex-partner; it was an open investigation throughout the entirety of my final year of studies. To this day I still struggle to process and talk about the event and the 2 years that followed. The distress and emotional pain manifested into physical pain and self-destructive behaviours; I neglected my body and my safety in attempts to disconnect.

 

I don't recall what created the switch from painting with empty water bottles to painting with my hands but within a few weeks, I was painting the walls of my studio in full nude. The creative changes that came from this progression were rapid; I stopped leaving the studio before 11 am and started taking my art more seriously and, with time, the roof of my creative block began to crack. Printing with my exposed body made me feel beautiful; being able to use my body to create something grand and striking distracted me from the added self-inflicted suffering.

 

The print in discussion was 52, a temporary full-sized action painting created in my university's studio space using black water-based acrylic paint. 52 was my very first exhibited body print; for this piece, I wanted to create something playful and effortless so I recorded myself covering my body from shoulder to toe in paint and printing myself against the wall, jogging backwards and forwards 52 times, reapplying paint as it dried to the skin. I am 5 foot 2 inches so I added a simple rule to this painting exercise to take up as much space in a single area as I could, jumping and stretching my arms wide to reach as much of the wall as possible. In the footage taken during the process, I am giddy with a huge smile on my face. I remember this being the first time I felt alive in many months; 52 left me feeling like I was high on pure ecstasy; I knew this was a feeling I would be chasing for the rest of my life. It was a real career-starting moment. In so many ways I use my art to talk about what happened, how it affected me and how much it’s changed me. I choose to look back on my past without regrets; I wouldn’t be who I am today without it.  If I were to ever see that ex-partner again, a big part of me wants to thank him for being a significant part of what pushed me into growing and learning to love myself; I fully believe I would not be using my body in the way that I do today and I would not have discovered the freedom in body-focused works. At the very least,  my works would never have had a significant development or play such a major role in my life. I choose to credit him because I was lost even before the assault and I have felt limitless ever since. 

 

I have created many projects and bodies of work since that I am proud of but the personal significance attached to 52 keeps it unmatched. This piece can’t be experienced again or recreated as, unfortunately, it only exists through photographs, for I had to return the walls to their original condition when completing my degree but this piece changed everything and is a feeling I can never forget. Something about this piece no longer existing feels right; it wasn't made for anyone but me.

What are your views on the 'mad artist' stereotype and its relation to creativity and artistic success?

Artists see beauty and passion whereas others don't know where to look. We can create from nothing; does that make us mad or gifted? Maybe it's the madness that drives us. Creatives were not designed to go with the flow. Art is a spectrum, there is no one stereotype that a creative person can fall into; some are mad, some are arrogant, and some are just happy to be here.

 

I am not the first artist to be driven by emotion, leaning into the pain is what makes so many of us tick but to be a great artist is to be completely and wholly vulnerable. It takes risk to put yourself in the public eye and allow the opportunity for judgment or criticism. To be able to create successfully you have to have a thick skin and a strong opinion. And for some, good lawyers.

 

#Art is a tool for the unexplainable, it's a form of communication. Maybe some view us as ‘mad’ but perhaps that is because they are not speaking our language or perhaps we are not meant to be understood and art simply exists to visualise the unexplainable. Van Gogh is the king of the ‘mad artist’ stereotype because he sliced his ear off; if he were a woman he would have been labelled as hysterical or a witch. It’s a romanticised term used when describing artists who suffer from a mental illness, driven to insanity by their dedication or hyper-fixation to the craft. Everyone knows this cliche. I’m mentally ill, I am driven by my trauma and passion to create some funky art pieces but I wouldn’t willingly associate myself with that insufferable title.

 

I wouldn't consider myself to be a ‘mad artist’, I'm on medication. I've also never smoked crack just to see what it would taste like. I don’t know whether friends or colleagues would call me nuts but I wouldn’t refer to myself as ‘mad’. I am simply not interested in pursuing a life that is dictated to me; no man or god can influence how I live my life. I spend £100 on art books without regret, I buy myself fresh flowers every week to put in my bedroom, I like digging through trash like it’s a treasure to find a weird object to display in my flat, I love being barefoot and walking around naked, I talk out loud to myself in the high street and I actually love being single. I am a woman who doesn't want kids, I am a woman who is free but does that make me ‘mad’?

 

If choosing my own happiness as a woman makes me ‘mad’, throw me in an asylum. You got me, lock me away, chuck the key and microwave my dildos because I’m clinically insane. When I am weak, when I am insecure and when I am lost, others gain. The system gains from my low self-esteem, boys gain from my timidness and self-doubt gains from my indecisions. Nothing could stop me from painting and drawing myself into a soft, loving relationship with myself. Using my body to create art makes me feel like sunshine; whether I’m printing my tits, drawing my vagina, dancing in my kitchen or just walking through the woods, I am whole. If the ability to find happiness in this absolute sh*t storm of a system seems mental, maybe it’s not me that is ‘mad’. 

Contemplate the role and responsibilities of an artist in society today. How do you perceive the role of an artist in today's society? What responsibilities, if any, do you believe artists have towards their communities or the broader public?

Expressing oneself through creating is an act of rebellion; challenging limitations and expectations in order to define an idea or an identity is an important role of an artist. I strongly believe it is my responsibility to keep the history of women and queer artists alive by creating with honesty and vulnerability; as a woman artist it is important for me to play an active role within the feminist community; my practice allows me to co-exist with my insecurities and celebrate my imperfections. 

 

Having a tracheostomy affected my ability and confidence in communication; my voice is quiet and husky. Throughout my teens it really affected me; I withdrew a lot and had very low self-esteem; my physical presence meant I was easily overlooked and I struggled to shake off the “wallflower” mindset I adopted early in life. In my adolescence, I felt like I didn’t stand out in any way and if I did, it wasn't for any outstanding talents or crowd-worthy jokes. It took many years, but I found my voice. Not literally. I will always sound like I’ve chain-smokers a 30-pack before breakfast but at least I’ll own that now.

 

My disability combined with a 5”2, petite build constantly reminds me that I am a threat to no one and it is a mould I am still striving to break but, with the support of my art, I have grown so much. Being queer, disabled and a woman in this society, I am an HR dream; I tick several diversity hire boxes and I will exercise that god given right at any opportunity. I live purely out of spite and I will not go out quietly. It is my intention to exist authentically; I can't be anyone other than me and my art is a reflection of who I am. The older I get and the more I experience, I am learning that it is my role to be a force of self-love and self-acceptance. Embracing my body and sharing personal battles is my act of rebellion in a world that strives to remind me of my place. Society thrives when women are insecure, torn down and in competition with each other. Womanhood isn't a battle to outdo each other and a man is not the prize.

 

I am blessed to be surrounded by so many creative girlfriends who consistently lift each other up, sharing each other's achievements through our social media platforms. Art is a community; in order for us to survive and become successful we have to work together by opening doors for each other. Gatekeeping is out, and supporting the girls is in.

 

Although the battle for women's equality across the world is ongoing, I love this new movement of modern women choosing to pursue their own dreams, childfree, and striving to heal generational wounds passed from grandmother to mother to granddaughter. Decentering our relationships with men is the first step to healing. Being a woman in this society, I am exceedingly grateful that I do not need a man for my survival; I can access my own money, housing and activities freely. With this privilege I have a responsibility to set an example of independence, love and strength; feminism isn't about a war against the sexes but a fight to unite them. It is also a fight to remind women of who they are and who they can become.

 

It is also my mission to represent the significant benefits of creating in a generation that deems art as unessential; this was reinforced in 2019 by COVID-19 and the following national lockdowns. Funding is consistently being cut for the arts, limiting people's access to freedom because that is what art represents; freedom. For so many, creating is a powerful way of expressing an experience or an emotion that exceeds the use of words or boundaries.

What are some upcoming projects or plans you are excited about?

Since moving to London at the end of 2022, I have been consistently creating in my home studio for about 18 months; living in the city has provided me with access to unique and exciting work experiences and amazing connections.  I love exploring everything London has to offer me as an artist; I regularly visit galleries, and exhibitions and attend evening events when I can. I feel limitless and inspired for my next step. I have been making the most of every voluntary opportunity and short-term position; it's a challenge balancing more than one creative opportunity at a time, my practice and working up to 50 hours a week- my personal life is a wreck- but honestly I'm having so much fun and the time is flying by.

 

This month I am working with a local gallery to promote their Art Trail event via social media; I have the opportunity to meet, interview and photograph many artists and their workspaces. It's very exciting to meet artists that are local to me and be welcomed into their studio. Within the next few weeks, I will be featured on the Women United Art Movement’s podcast, a platform dedicated to sharing the works of women artists, to discuss my practice and I will also be starting an Artist in Residence in Surrey to develop my ideas within their studio space. I am currently in the process of looking at my own studio so that by the end of Autumn I can expand the scale of my ideas and develop my career in freelancing.

 

Outside of work and these exciting career opportunities, I am also juggling a portrait photography project with my artistic friends. I'm blessed to have many creative friends who are allowing me to share their creative spaces with the world; I'm fascinated by artists and the spaces they reside in, specifically their bedrooms. I am playing with the overarching title of "Artists in the Bedroom" or "Artists and Their Bedrooms"; I am really intrigued by the concept of bedrooms reflecting an individual's personality and quirks. I have been practising myself using objects only found in my bedroom to create abstract and unique self-portraits. For the last few months, I have been using point-and-shoot digital cameras from the early 2000’s to photograph myself; I love the simplicity of the models and the fast results. At this time, I have been extremely busy and have not been able to find the time to collaborate with my friends yet but by experimenting in my own space, I have examples to show what I am hoping to achieve with my models. I'm looking forward to the challenge of collaborating with different creatives; I know my style and I am very familiar with my space so my ideas flow freely; I am interested to see how my ideas will evolve in someone else's space with someone else's objects. Typically, I work alone and I am comfortable in my own rhythm; I am curious to see how my practice and my ideas will evolve with other people. So far a Musician, a Theater Costume Technician and a Film Photographer have agreed to participate in my project; I am energised by the variety of interests they have as individuals and how they express themselves through their private spaces. This project will likely take a few months to complete but I have every belief it will be successful and I'm really excited to share this project with my audience.

If you could experience life in a different artistic era, which one would you choose and why? 

To truly be a woman artist of today, it is so important to me to remind myself of the sacrifices made by women before me, that allow me to create art in the way that I do. Historically, women were viewed as the weaker sex; many art forms beyond embroidery and watercolour, (especially life drawing and portraiture), were deemed too difficult and improper for a woman to partake in.

 

As a contemporary woman artist in Western society, I have the privilege of living without limitations and creating with very few restrictions. I will not be imprisoned, silenced or murdered for being outspoken or for simply being a woman. Being able to publicly identify as queer, share my nude form and vocalise my opinions on social and political issues is an act denied by so many other women within history as well as across the globe today. I create an act of celebration and defiance. 

 

I love attending art exhibitions and galleries dedicated to showcasing artwork made by women or queer artists. With it being close to me, I am a regular at Tate Britain; I recently visited their ongoing exhibition “Now You See Us”, an exhibit highlighting artworks created by women in Britain over the span of over 400 years, casting a spotlight on the first British women to be recognised as artists and the women that paved the way for the artists of today. "Now You See Us"  touches upon women artists from Britain from 1520-1920 but their exhibition "Women In Revolt" (prior to "Now You See Us") shared works by women and queer artists detailing the revolution of female artists protesting the rights of women from 1970-1990. Women In Revolt highlighted historic events that impacted my grandparents' and parents' generations; I still can't get my head around the fact that women in my Nanny’s generation could only access a bank account or a credit card with their fathers or husbands' permission. The power that men had to control their wives makes me want to vomit and this was only 50 years ago; it was so easy and acceptable for husbands to dictate what their wives did with their money and their freedom. I do not have that restriction and the rage I would feel if that were to become my reality is indescribable. 

 

Nevertheless, if I could experience life as an artist in a different time, I would choose to be a part of the changes at the Royal Academy School in the 19th Century where, in 1868, the Royal Female School of Art, the very first art school for women was established and woman experienced equality in the arts for the first time. In 1903, the Royal Academy abolished gender segregation altogether, meaning women could attend life drawing classes. Just to experience those early monumental changes for women would have been exhilarating, to feel the impact of those first steps of progress would be unmatched. Learning about our contrasting experiences as women and as artists is crucial to me; it is a part of my history as a woman and it is what allows me to be the artist I am today. I always leave these types of exhibitions feeling deeply emotional and overwhelmed with pride, I consider it ignorant and wasteful to not know the history that I am adding to; it would be an honour to be a part of such a significant shift in society's perception and treatment of women.

 

The freedom of the nude is very central in my life; my relationship with my nude has transformed from disgust, to neglect to acceptance. Through my artwork, this relationship is evolving into a connection of triumph. The way that I create honours women from the past and restores my peace; we don’t enter this world being aware of our bodies, any negative perceptions of ourselves are learnt. Art allows me to embrace the reality that my body is just a way I experience the world around me, however broken or imperfect this vessel may be. I could not imagine living in a time that did not allow me to channel my ideas in the way that I do; freedom to play is what drives my process. Historically, women artists have been denied their right to play; they had to pursue and celebrate their desires in private. I am able to create outwardly and without shame. This is a right so many women have died for.

What are your long-term goals and aspirations as a professional artist?

In the last year, my works have been exhibited in multiple exhibitions and I have had my works shared by several platforms. I'm still very early into my career as an artist and I'm very excited to see where it's headed…who knows where I'll be next year! I love being open-minded; through the art world, I have met some great people and have done some really unique opportunities just through taking risks, being bold and putting myself out there. My confidence in myself and my practice grows week by week and I feel energised by each bit of progress, I am not stopping any time soon.

 

Just this week I put down a deposit for a studio close to my flat; last year I couldn't have predicted that I would be in a position where I could get my own studio. I'm over the moon to have a space where I can grow and work away from my shared flat. I work in my lounge and in my bedroom at the moment; it gets really chaotic and cramped with 2 busy creatives living together. I struggle to separate art time from housework and my to-do lists, it jumbles into one and I end up doing them all at once; hanging the washing out whilst dinner is cooking the glue is drying and my cat is screaming to be fed. It will be nice to work in a space where he can't walk across my partially dry works and leave his hair all over it! It's been my dream since college to have my own personal space, but I never thought I'd take art seriously enough to be able to commit to a studio. To have my own pocket of heaven to get lost in my little world is something I crave, it will make these 50 hours a week feel worth it. My little lighthouse.

 

To be completely honest, my studio is a glorified cupboard. I can just about lie down on the floor and it has no windows with just wooden planks above the door as makeshift overhead storage but I don’t care. Today’s date is the 25th of August 2024, I get the keys to my first studio next week. I’ve already started thrifting furniture and I’m on the hunt for an old armchair for my life drawing sessions. I have had friends reach out to me offering to model for my sketching; the studio will provide a space to call my own but also a professional room for my models to feel relaxed and comfortable. Although my friends are comfortable posing in my flat, I have plans to sketch strangers or other professionals in the future, so having the space external to my home is ideal.

 

In the next 5 years, I hope to establish myself further by having a reputation within SW London's arts community. To me, it's super important to put myself out there in my local art community so that I establish a local network of support and knowledge. I'm on a high and I'm loving the ride and I am so grateful to be where I am; I am confident that it’s only up from here. I am not the first feminist. I am not the first to identify as queer. I am not the first woman to feel rage and I certainly won’t be the last. 

 

Women and survivors of abuse have told me what my art means to them; I hope my work remains valuable and my story adds to the rich history of other influential women artists once I am gone. As an artist, it is not my intention to master a craft, build an empire or change the world. My mission is one of love. Growing up I didn’t have a representation of what it looked like to love myself and how to do it loudly. I didn't look up to anyone except the Oli Sykes poster on the ceiling above my bed. I am becoming the person I needed as a girl. I wish she believed in herself, I wish she knew what was coming. Hell, even 21-year-old me couldn’t have predicted where I am right now. I wish I could tell her that it was all going to be worth it. I hope 25-year-old me still doesn't want kids, I hope 30-year-old me doesn't lose herself to social pressures. I hope my heart is still working and I make it to my 60s, even my 70s. I hope I live long enough to own a garden with a studio and a tree. I hope I age happily and not beautifully. I hope I die surrounded by people that love me and I have a life full of “thank f*ck I did that” and not “I wish I had done that”  moments.

Share your thoughts on pursuing a creative career, despite potential risks, versus more conventional career paths.

Even though, at 23, I am in the early stages of my professional art career, I feel it is important to share my realistic experiences with others who are weighing up the prospect of whether it is worth pursuing art or settling for a safe job. I can only speak from my experiences because I am not experienced enough to offer informed advice but I can provide honesty and encouragement.

 

I have been in customer service and hospitality positions since I was 17; from waitressing to house cleaning to retail and barista-ing, these roles have provided a steady routine and a secure income but the soul-sucking, passion-killing nature of these roles motivated me further to develop my CV and they drive me to seek out creative opportunities.

 

After graduating from university, I was completely under-prepared for the harsh reality of the highly competitive industry dominated by nepotism and wealth. For over a year after graduation, I didn't create a single new piece of artwork nor did I partake in any promising career opportunities. I was severely unmotivated,  burnt out and unstable, losing myself to self-destructive cycles and abusive relationships. I faced the challenges of being unemployed and broke as well as navigating challenging housing situations. 

 

In the second year post-graduation, I applied to any voluntary position I could in order to gain crucial industry experience so I could obtain practical work experience and connections. Over time, I developed confidence in networking and gained strong interpersonal skills as well as valuable insight into the workings of the art world. From volunteering at art fairs, art galleries and open nights, I secured short-term employment through some of the organizations I volunteered for. By establishing strong professional working relationships, I was rewarded with unique paid opportunities. 

 

To be completely transparent, I work about 50 hours a week in the kitchen of a cinema. I am doing freelance work with a gallery I used to volunteer for. I am pursuing career opportunities in exhibitions and magazines on top of actually making artwork, as well as seeing my friends and functioning as an independent adult. Juggling my time and energy between full-time employment, working on creative projects, volunteering and applying to any and all open calls is exhausting but not dedicating time to my greatest passion is even more exhausting. I am f*cking TIRED (and I look it). But I would absolutely not trade this for the world. I feel invigorated by not knowing what my next step or what the next open door will be; being able to separate my day job from my creative identity was the early stage of achieving success in my career as an artist.

 

It is currently 3 years post-graduation; I have undoubtedly received more rejection emails and I have lost count of how many job applications jobs that have been unsuccessful. It has been slow but since the beginning of 2024, I have been in 3 exhibitions, completed 2 short-term freelance roles, been offered an artist-in-residence and have secured an opportunity to partake in a podcast dedicated to women artists. Equally, I failed a job interview, I have been rejected from multiple job applications, and I have been unsuccessful in numerous open calls. Relentless work and making the conscious choice to not give up on my ambition of creating full-time has gotten me to a point where opportunities are coming more frequently and emails of successful applications are steadily flowing in. I refuse to quit because I will not abandon my dream.

 

I endeavour to share my account of a working-class artist not embrace victimhood but embraced self-appreciation and gratitude for any victory, whether that be creatively or personally. I would summarise my thoughts on pursuing a creative job, whether that be freelance or otherwise, by commenting on mindset. I was - and to an extent still am- clueless about where to begin in an industry that not too long ago felt unbreachable. Perseverance has helped me score unique and one-off experiences. I am guided by passion and curiosity; I would share the advice of making the most of every opportunity and doing it with gratitude. I believe it is all influenced by perspective. In order to grow, I had to cut out unnecessary distractions; my life had to change in order to create enough space to allow art to be at the centre of everything that I do. To view oneself as a successful artist depends on how you measure your success. Success to me is being able to afford to create in a space outside of my bedroom and having the opportunities to work alongside other creatives, no matter how brief. To spare even a few hours a week to something I love recharges my soul, anything extra is like pure ecstasy. You can do it all but always do it with gratitude. Take the risk, and say yes. If you can, invest your money in yourself because money can always come back. Lastly, live every day like it will be your last.