5 minute read
What Next?
Two recent graduates reflect on their time at art school and how they transitioned to life as working artists
ABOVE Ashleigh Trim, Basking in Lemon Yellow, 2019
Ashleigh Trim
How did you enjoy your degree? I loved my time at Falmouth, I had great tutors and was surrounded by awesome and talented people.
I miss constantly being surrounded by other artists, being able to bounce off each other’s ideas and energy. One of the biggest reasons I was so drawn to Falmouth was the location and it is one of the main reasons I have ended up basing all my work on landscapes and nature.
I pretty much just carried on painting, carried on making work as if I hadn’t left.
I was lucky to be selected for Saatchi Arts “Invest in Artists” feature and so was able to sell a lot of my paintings, which made room and a bit of money for me to continue making more.
I also moved to Cardiff right after uni and, just before I graduated, I emailed all the local galleries and submitted to a few local call outs so that I’d have a feel of the area and opportunities before I moved there.
What is the one thing that you know now that you wish you'd known in Fresher's Week?
To not take it too seriously and have fun with it.
I love trying different things and it took me three years of university to just get to the starting point of what I truly wanted my practice to be.
What I really loved about uni is how your art is completely yours, you aren’t expected to follow guidelines or projects because the whole point is that you’re developing your own art practice.
Also make as much art as possible. Bin half of it, paint over whatever you don’t like, and don’t be too precious.
Are you able to work full-time on your art now?
I’m currently working as a chef, and I paint on my days off. It is difficult to find the motivation sometimes and I do end up having gaps where I don’t paint for a while but that’s okay.
Usually I find in these times I’m gathering inspiration and ideas, and I am able to paint much more fluidly and subconsciously when I do get back into it.
Tell us about your latest body of work.
The idea for the Glass Houses series started from the painting Basking in Lemon Yellow and a poem I had written to go along with it. At that point the majority of my paintings started from my own photographs.
I started searching through the photos I had taken throughout the summer and noticed a common theme of glasshouses, indoor gardens, decorated outdoor spaces, and the enjoyment of being outside.
I wanted to capture the vibrancy and warmth that visiting all of these places gave me and so the colour palettes of the work reflect that.
What is your ambition for your art?
I’d love to be able to paint full time. My goal is to be able to consistently have my own solo exhibitions to work towards.
I’d love in the more distant future to set up my own gallery
space that is more relaxed and community based. I’ve been really inspired living in Cardiff by the small spaces I see popping up, set up by other artists like me, using old empty shop fronts and empty spaces, and encouraging local and emerging artists to apply, show with them and set up their own experimental exhibitions.
www.ashleightrim.co.uk
ABOVE Ashleigh Trim, Steam Room, 2019
ABOVE Ella Squirrell, Untitled, 2020
Ella Squirrell
What was the hardest part of your degree?
Opening myself up. I had to accept what it is to be vulnerable. I gradually came to understand that the work may take me through a period of uncertainty and insecurity before it finds a resolution. Fortunately, I moved straight into a studio after graduation, which gave me the chance to reflect on my time at university and to continue making.
University was an immersive experience and I needed time to reflect on what I had done and what I wanted to do next. I decided to go back to the drawing board, make observational work from life, and focus on drawing. Outside art school you soon realise that progress can be slow, so I learnt to be patient with myself. After a year, I began to look for opportunities to exhibit locally and took up invitations to show in London and Cornwall. I also set up a network of other young Bridport creatives and organised a group exhibition.
I took seasonal hospitality jobs to begin with, then found freelance work in creative fields, such as working for a local artist.
This allowed me to acquire new skills or transfer ones I’d gained at university. I felt I needed a job to give my week a structure alongside the painting.
It was good to work in social jobs in contrast to the solo studio work. This was a big change compared to being in shared studios. I think it’s important to keep engaged creatively, to find or create a community that supports you.
Are you able to work full-time on your art now?
Yes, two years on I’m focusing fully on my art practice, occasionally picking up other work. You just have to find a way that suits you and enables you to keep making.
Tell us about your latest body of work.
My current project is a response to my personal experience of lockdown and the pandemic. I am exploring paintings of domesticity and illness, of uncertainty, stillness and patience.
How has the pandemic impacted your practice?
I had no access to my studio and oil paint, so my paintings became much smaller, tiny in fact, which is entirely new to me. I’ve been able to explore new mediums such as watercolour and gouache which I love. I don’t think I would have used them to this extent had I not been restricted by staying at home. Limitations and playfulness always allow for new realisations and positive growth in my work.
What is your ambition for your art?
To keep making it, to stay open minded about what direction it will go in, and to trust in the process.
