Creating Strong Networks And Micro-communities

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Employability EDUCATOR RESOURCE SET Creating Strong Networks And Micro-communities This resource set includes three items: 1. A career story featuring renowned ceramic artist Graham Hay 2. Advice on establishing an art career, for students 3. A networking resource for use with students

CAREER STORY WA-based paperclay expert Graham Hay talks about his visual arts career and his specialisation in paperclay. In this profile he shares his strategies for career success, highlighting commitment of time and resources, active volunteering, getting involved, a proactive attitude, persistence, a passion for work, and working and learning with others. Using the resources, students can define each of these expanded strategies and learn to incorporate them into their lives.

ADVICE ON ESTABLISHING AN ART CAREER Graham’s illustrious career forms the backdrop for a series of practical tips, cultivated from three decades of experience. The tool begins with a sectoral overview that enables students to situate themselves within the wider context of the creative and visual arts. This is followed by anecdotes from Graham’s activity during his studies, with examples of how he utilised his time, resources and opportunities to kick-start his career. One of our favourite stories is that Graham treated the three and a half years of his degree as the first years of his career! Topics include: broadening your perspective and engaging with the arts community; knowing yourself and your industry; not being afraid to create; and preparing to make sacrifices.

NETWORKING RESOURCE Networking and connecting with like-minded artists is Graham’s primary piece of advice for students. In this resource, Graham’s experience in creating informal networks is supplemented with various networking resources. These include suggestions on how to build and expand networking circles and how to handle professional partnerships, and a series of reflective questions for students to consider on their own or as part of a group.

www.developingemployability.edu.au | [email protected] Developing Employability is led by Professor Dawn Bennett, Curtin University, Australia. The work is supported by the Australian Government Department of Education and Training. Last edited: November 24, 2017 | REV A

DEVELOPING EMPLOYABILITY

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Career Story | Networking and microcommunities “I was going to be an artist, I was going to make it happen. The attitude was, qualification or not, that’s what I’m going to do”

Graham’s story A locally, nationally and internationally renowned ceramic artist, Graham Hay’s incredible career has spanned over two decades. His work has featured in over 130 exhibitions worldwide. Graham’s research and expertise has led to invitations to teach and demonstrate on over 220 occasions and in more than twelve countries. As a celebrated Western Australian paper clay expert, Graham has come a long way from his humble beginnings, growing up on a farm with four brothers and a sister in small-town New Zealand. Graham is an avid supporter of, and contributor to the Perth art scene. He is also a member of multiple groups including the Chamber of Arts and Culture WA (CACWA), the Ceramic Art Association of WA (CAAWA), Artsource and a number of national ceramic art associations. His various residences range from the local Tranby College to the National College of Arts in Lahore, Punjab. His longest has been the 16 years spent at the Robertson Park Art Studio in West Perth, which he also co-founded. Alongside exhibitions with fellow art residents, Graham still utilises the Robertson Park Arts Studio space for weekly pottery and sculpture workshops, which he began in 1998. Graham is also a prolific writer and one of the leading experts on paper clay techniques, having participated in and led various paper clay conferences and symposia in Hungary, Denmark, Sweden and the US. In Graham’s words, the creation of these “micro-communities” around art goes a long way to developing an “organic, socially dynamic and stimulating creative environment.” Graham pursued art during school as it was the only subject that provided the same level of play and experimentation he had experienced during his farming childhood. Art developed into a greater passion in high school, but he was discouraged from pursuing art as an occupation on the basis that work opportunities in his small, rural community were limited. Despite this, Graham went on to study art at the local Teachers’ College and made full use of after-hours access to a ceramic studio across the road from his house. His pursuit continued when he relocated to Western Australia, attending TAFE community ceramic classes at high schools such as Perth Modern and Applecross Senior High School.

Artist Graham Hay with “Bureaucraft I” 2002. Photo: Frances Dennis. http://www.grahamhay.com.au/hay2004tafta.html

www.developingemployability.edu.au | [email protected] Developing Employability is led by Professor Dawn Bennett, Curtin University, Australia. The work is supported by the Australian Government Department of Education and Training. Last edited: November 24, 2017 | REV A

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Treating your studies as the first years of your career It was not until 1990, when Graham met full-time clay artists while travelling through the US and Europe that he made up his mind to become a ceramic artist. He told himself, “I was going to be an artist, I was going to make it happen. The attitude was, qualification or not, that’s what I’m going to do”. From that time on, Graham actively engaged in his education and training and made full use of professional opportunities on the journey to forge his art career. Graham entered formal tertiary art education at a different stage of his life than younger high school graduates and he recalls that it made a big difference. He had a clear goal in mind when he decided to attend university: he was aiming not for a degree but for a career. As a third-time tertiary student, he found that his personal goals led him to be a lot more focused on his studies. Reflecting on his life as a graduate, Graham notes: “as people say, it takes 10 years in order to survive financially with your chosen occupation after graduation”. Being a “poor, mature-age student,”, however, he knew that he would not have the luxury of a long establishment period. Instead, Graham treated the three and a half years of his degree as the first years of his artistic career. Looking back, he jokes, “that left only 6 years of potential struggle afterwards!”

Graham Hay, 4 tonne compressed sculpture in the High Court of Australia, 1998.

www.developingemployability.edu.au | [email protected] Developing Employability is led by Professor Dawn Bennett, Curtin University, Australia. The work is supported by the Australian Government Department of Education and Training. Last edited: November 24, 2017 | REV A

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Goal-oriented study Graham had a specific goal in mind when he attended university, and he negotiated an exemption from minor studies and compulsory wheel throwing. He didn’t think there was a future in wheel throwing, especially when every other student was perhaps doing the same thing. To make these changes to his study program, he had to attend an interview process, involving a portfolio of his work. But his efforts paid off, as the time saved from wheel throwing was put to good use experimenting with paper clay in the art studio. He describes his modified program in terms of the autonomy it permitted him: “In a way, I undertook an informal Master of Art degree by research within their undergraduate program. Within a short time, I had developed a number of unique techniques and my work was beginning to look more and more unusual.”

In an odd role reversal, Graham’s peers and teachers began to inquire about his experiments. Eventually frustrated with the time this took, he suggested a workshop where he could address everyone collectively. A fellow student organised the weekend workshop, which was attended by most of his peers and some teaching staff. This was a turning point in Graham’s career because: “word of mouth then led to requests for workshops with ceramic groups and articles, which went from being in W.A only to interstate and then international.”

Taking the initiative to build networks Later, when other art students notified him of international paper clay articles and journals, Graham grabbed the opportunity to connect. He immediately contacted world-leading ceramic artists and writers Brian Gartside and Rosette Gault with details of his experiments and research, and he was soon invited to collaborate with them. Graham’s student work was featured in Rosette Gault’s 1998 book Paper clay, as the cover image for fellow artist Anne Lightwood’s 2000 book Working with Paperclay and Other Additives. This eventually led to an invitation to co-host the first international paper clay symposium in Hungary alongside Rosette Gault. Without taking the initiative, Graham would never have known about the wider paper clay community and would not have been able to connect with experienced artists working with similar ideas and techniques.

www.developingemployability.edu.au | [email protected] Developing Employability is led by Professor Dawn Bennett, Curtin University, Australia. The work is supported by the Australian Government Department of Education and Training. Last edited: November 24, 2017 | REV A

DEVELOPING EMPLOYABILITY

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ADVICE ON ESTABLISHING AN ARTIST CAREER While the Australian creative industries grow stronger and more varied with each decade, it is still difficult for artists to become established. The sector contributes $4.2 billion to the GDP and includes over 44,000 professional working artists, with 14,442 people operating art businesses; 1,166 of these located in Western Australia (Australian Council for the Arts, 2015; Murray, 2014). Due to the nature of arts work, careers are often non-linear and it takes time, energy and regular skills development to sustain a career. Statistics from art graduates show that, a year after graduation, 55% of people are working part-time or in casual roles as they pursue their careers. This mix of roles is known as a portfolio career, and for artists it is common across the career lifespan. Work as a visual artist is likely to involve multiple concurrent roles that form part of a small business; some of these roles may be unrelated to the visual arts. Work is most often secured through reputation and networks, so it is crucial to be known, to be visible, and to know the market. We asked Graham for advice about establishing an arts career. As with many creative industries occupations, visual arts work can be very versatile and unpredictable. Graham’s suggestion is to broaden your perspective and engage with the arts community, know yourself and your industry, don’t be afraid to create, and prepare for sacrifices. You can learn more about each of these points below.

Broaden your perspective and engage with the arts community Get involved early in your studies and consider the start of your degree as the start of your career. You should: 1.

Read the news; Twitter is a great platform to keep up-to-date.

2.

Go to exhibitions and talk to artists; begin with John Curtin Gallery or PICA

3.

Join the boards and associations; take a look at art associations relevant to their field, like the Ceramic Arts Association of WA or Artsource, which provides a number of artist residencies and studios at their various metropolitan and regional locations

4.

Volunteer; to get started, take a look at the Volunteer Challenge



Graham’s illustrious career forms the backdrop for a series of practical tips, cultivated from three decades of experience. The resource begins with a sectoral overview that enables students to situate themselves within the wider context of the creative and visual arts. This is followed by anecdotes from Graham’s activity during his studies, with examples of how he utilised his time, resources and opportunities to kickstart his career. One of our favourite stories is that Graham treated the three and a half years of his degree as the first years of his career! Topics include: broadening your perspective and engaging with the arts community, knowing yourself and your industry, not being afraid to create and preparing to make sacrifices.

www.developingemployability.edu.au | [email protected] Developing Employability is led by Professor Dawn Bennett, Curtin University, Australia. The work is supported by the Australian Government Department of Education and Training. Last edited: November 24, 2017 | REV A

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WHAT DOES IT TAKE TO SUCCEED? Commit time and resources For Graham, it took a certain amount of risk-taking to pursue excellence in ceramics. The 6–8 hours minimum requirement a week expected of the course was not enough, so he decided to “treat the university as my studio.” Even with part-time work he made sure to devote as much time as possible to practising before class or work, and staying late into the night. The commitment to the course and his career was a huge risk to take, but as Graham said, “I was doing something I really enjoyed.”

Get involved Graham’s formal art major taught him many strategies on developing, cultivating and focusing his ideas, which added structure to his techniques. But he attributes his engagement with the Perth art community as what put him ahead of his peers: “I actually got involved with a lot of organisations, both on and off campus, and went out to find practitioners and attend exhibitions.”

He talks about how he always did far more than the students who just did what was necessary. “Universities can be so engaged with themselves; that’s a whole world to itself,” he says.

Be active Graham describes the art community like “a school of fish”: the members tend to support each other and work as a unit. He volunteered and worked for many art organisations during his studies, and by doing so he interacted with the industry and got his own work known.

If it doesn’t exist, create it Graham’s devotion to his studies encompassed a need to be involved and connected to the wider art community. This wasn’t always easy: “There is actually an active arts community in Perth, but they aren’t particularly well connected, as most art communities aren’t.” Graham was concerned about his situation as a new graduate and feared that he might find himself “falling off a cliff”: that is, becoming irrelevant and disconnected to the industry. To combat this notion head-on, Graham saw a gap in the university art community and formed his own art group from fellow first and second year art students. The group, known as the ‘Thermal Shockers’, had a modest beginning in 1992, but evolved into a transformative experience for both the students-turned-artists and the university.

Be persistent The group began to exhibit their work in public, and initially the university refused to support their bid to include this work as part of their formal studies, but Graham continued to lobby and negotiate. This persistence resulted in the university acknowledging their work.

Bring passion and commitment to your work The ‘Thermal Shockers’ ran regular exhibitions on top of their existing workload, but were motivated by their love of making and sharing art. Their passion fuelled their commitment. www.developingemployability.edu.au | [email protected] Developing Employability is led by Professor Dawn Bennett, Curtin University, Australia. The work is supported by the Australian Government Department of Education and Training. Last edited: November 24, 2017 | REV A

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Work and learn together Due to restricted funds, members brought their unique skills to the task. Graham did his part by developing a basic website to showcase the works of the collective and digitizing their exhibition catalogues. The group worked together to curate exhibitions, secure sponsors, network, cater for events, and design marketing materials. “We were quite proactive, and opportunities came up for us that we could share with one another.”

The ‘Thermal Shockers’ was one of many groups and events initiated and enhanced by Graham, and he describes it as a critical milestone early on in his fruitful art career. The group went on to exhibit for over a decade and the members established themselves not as students, but as nationally and internationally renowned artists in their own right. Graham knew that the degree alone wouldn’t make him stand out of the crowd. By extending himself and taking every opportunity, he developed a broader perspective: this allowed him to connect with the real art community beyond the campus and get his name out there.

Know yourself and your industry Find something that you really enjoy and let it lead your creative pathway. If it’s something a little different or unusual, zoom in on it as soon as you can. For Graham, paperclay was an area little explored at the time, and he was able to quickly establish his credibility. But he mentions two important things to remember:

1.Do your research beforehand: the market and climate will vary depending on where you’re based, so it’s important to understand where the demand for your particular skill-set lies. 2. Follow your enthusiasm until it dies, and then move onto something else. luckily for Graham, the medium offers so much experimentation that he’s yet to get tired of it!

Don’t be afraid to create As an artist you need to take initiative and try your hand at creating, even when they’re not confident. “Try to be a creator and not just a consumer. Don’t just admire a book cover, go out and design a book cover,” he suggests. The experience will be both instructive and rewarding.

Prepare for sacrifices “Prepare for compromise” Graham says, as he admits the road to being an artist meant sometimes not having many savings and getting by on the minimum. He recommends knowing what you’re getting into, and to expect to be in the studio seven days a week. If students are happy to put in the commitment then they should pursue their passions to their full extent.

What next? Look at Graham’s suggestions. Can you commit to start three of these within the next three months?

www.developingemployability.edu.au | [email protected] Developing Employability is led by Professor Dawn Bennett, Curtin University, Australia. The work is supported by the Australian Government Department of Education and Training. Last edited: November 24, 2017 | REV A

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EDUCATOR RESOURCE SET | Part 03 NETWORKING RESOURCE Stay connected with others Graham attributes much of his early success during his degree to networking and meeting fellow artists and creators locally, nationally and internationally. He stresses the importance of connecting with others whenever possible. He suggests:

1. Surround yourself with like-minded people: those who take the time to travel long distances to meet up are often highly committed and have confidence in their work. “You meet people of the same calibre as you – switched on and doing unique work.”



2. Find and establish an informal network: it can provide a welcoming and supportive environment in order to nurture your art.



3. Aim to develop long-term relationships: and not just associations within the industry.

Like Graham, students don’t have to wait until they graduate to begin networking. If you take some time to look at your existing connections from:

1. your workplace



2. current degree



3. high school peers



4. hobbies or sports



5. family

You’ll soon realise that you’ve already got the foundations of a professional network. From here, you can:

1. Assess the circles that you belong to



2. See how they connect with each other



3. Identify some potential connections you can make

To help build your networks, keep your contacts together in a single platform, like LinkedIn or other social media. This allows you to further expand and not lose the various different connections you’ve made. For more information, take a look at Building Circles.

www.developingemployability.edu.au | [email protected] Developing Employability is led by Professor Dawn Bennett, Curtin University, Australia. The work is supported by the Australian Government Department of Education and Training. Last edited: November 24, 2017 | REV A

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Working in a team Partnerships and collaborations are a large part of professional life. During his career, Graham often contributed to a team of artists in order to collect funding and host exhibitions and conferences. His long-term residency at Robertson Park Art Studio culminated in many successful collaborations, and the members actively seek and provide input on each other’s work. When working in a team, you should ask yourself:



1. What are your individual goals, and how will working with this group fit your plans?

2. What is your mission? What sorts of activities will you undertake, and how will you brand yourselves?

3. Where and when will you work?



4. Where and how frequently will you showcase your work?

Students can go through more questions in the resource 12 Tips For Forming An Effective Group Or Team

REFERENCES Australian Council for the Arts. (2015). Arts Nation: An Overview of Australian Arts, 2015 Edition. Sydney, Australia. Retrieved from http://www.australiacouncil.gov.au/research/arts-nation-an-overview-ofaustralian-arts/ Murray, P. (2014). Talking Points: A Snapshot of Contemporary Visual Arts 2013-2014, Independent Research Report. Retrieved from http://www.australiacouncil.gov.au/workspace/uploads/files/research/ au2000_talkingpoints_final_13_-543256d38f5f6.pdf

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. You can view a copy of the licence here.

www.developingemployability.edu.au | [email protected] Developing Employability is led by Professor Dawn Bennett, Curtin University, Australia. The work is supported by the Australian Government Department of Education and Training. Last edited: November 24, 2017 | REV A