Mentoring / Joy Development

 

Joy Development mentoring for artists, writers, creatives

Join me on my Joy Development Substack to see how I envision more creative joy for us all.

You’ve been doing what you do for some time, but you’re feeling some burnout or a little bit lost in terms of how to organise and strategise your practice. Or you are refocusing on your practice after time away. I can guide you through a period of personal or creative evolution, so that you can identify your own sustainable work solutions.

Maybe you’ve found career success, but instead of feeling confident and secure, found yourself fearful of how others see you? Do you see competitors rather than allies? Are you still fearful of other’s perceptions of you?

Have you begun a new journey as a creative after years in a job that didn’t feel like you? Do you feel being an artist is your true self, but years of living as a people-pleasing false self have taken their toll? It’s taking some time to evolve and you need structured support while you change.

Perhaps your work in activism means, that when you come back to your practice, you don’t see its value? Maybe your practice even feels frivolous, particularly in our current political and environmental climate? You find it difficult to see how your purpose fits the bigger picture.

Do you live in the chaos of all of your ideas? Before breakfast, you’ve solved all the world’s problems. By lunch, you don’t know which solution is your priority. By tea, the overwhelm has taken over… You’re lucky to be so creative, but you burn yourself out, how can you identify what matters most and see it through?

I can help.

By hearing your dreams and visions and identifying the excessive tangle of spaghetti strands stuck together that have become burdens and limitations, we will work together to pick out the individual strands that matter most to you. I will suggest practical strategies to nurture what matters to you and manifest your ideas in the brightest, boldest ways. You will feel empowered and in control of your creativity and practice. You will find the joy in your work.

Together we will refuse limiting beliefs and we will hold dear your tender visions together.

HOW I WORK

My philosophy respects you as a whole person. I do not judge your journey and our work will be confidential. I believe you already know what you want to do, want to create. I am here to help you find your own motivations, and refuse your limitations. I am here to guide you into new ways of working so that you can manifest your inspiration exactly as you envision it. When you deeply understand how to overcome your blocks, you can then unlock the boundless possibilities for your own practice.

MY STORY SO FAR

For more than a decade I worked as a university lecturer and before then as an artist-practitioner in community, museum, and school settings. I have observed time and again that artists and visionaries need to feel they have permission to do what they do—and when they cultivate this for themselves, the magic happens.

I am also a practising artist myself, and while I draw on this to give professional advice, the tools I have developed to nourish my creativity and resilience come from the experience of overwork and overwhelm that led to a migraine that lasted nearly 10 months and chronic headache problems for the next five years.

Everything in my life seemed to feed the pain—my ambition, all the toxic feelings around work I was carrying, the numerous ways I was limiting myself through my own mindset. It was a negative spiral. I felt professionally invisible and this compounded the physical pain, which made me less visible.

This was a catalyst moment and since then I have spent time developing methods to handle stress and the precarity of my work life. I developed boundaries and eliminated any people-pleasing. I have learned to say what I need in order to feel safe, secure, and able to flourish. I concentrated on giving myself permission to feel joy and I rejected the cliched narratives of a frustrated artist. It opened up space for my own joy and pleasure in my practice, to reframe what a practice might look like.

I draw on these experiences to empower others to feel more confident in the work they do and have a range of practical tools to draw on when they wobble.

In 2023 I took Ceri Hand’s Mastering Mentoring course, and this has enabled me to turn my gifts into a business idea.

WHAT I CAN OFFER YOU

I want you to feel more joyful and empowered, to refuse the self-punishment and ‘work-harder’ narratives. I will share with you how to cultivate more confidence, integrity, and resilience to handle whatever your career might throw at you and to enjoy the journey.

We can work in an expanded way, negotiating what would work for you. From in-person meetings (Sheffield only), video calls, WhatsApp voice notes or email check-ins so that you can feel supported as you rebuild your vision. I charge £80 per hour for meetings and if an expanded package including emails and voice notes would suit you we can work out a bespoke package for you.

One way for us to start working together is on my package for writing artist statements. I have a gift for listening to artists and catching what matters, hearing what an artist is saying, that they don’t hear themselves. I’ll make notes, we’ll edit together, we repeat the process with ample space for reflection. Over 3 x 30mins sessions online I believe we can come up with something you love. The total cost these 3 sessions is £150.

How shall we begin? Complete this registration form so I can get to know you. I encourage you to get to know me through my mentoring-related Instagram account here, Artistic Mystic and subscribe to my Substack, Joy Development. You are welcome to have a free no-strings informal chat book with me. For our informal chat, and all other appointments, please book-in below.

MENU



2023

 
They Danced As One 2023-

42 minutes

Cinematography & Editor: Helena Öhman

Sound Design: Rob Bentall (to be produced)

In 2019 the surviving Tiller Girls, representing many different generations of dancers, met up for a reunion in Blackpool—a key home of the troupe. I went along with Helena Öhman, to record the event and talk to the women.

The footage of the event shows glamorous older women, posing, chatting, laughing, negotiating one another, reliving memories, and showing me how to link arms as a Tiller Girl.

Interposed text highlights speech, emphasising the insights and opinions that develop and challenge earlier video works. Black and white archival footage of filmed theatre performances depict Tiller Girl dances giving visual descriptions to pair with the stories.

2020

 
Ascending A Staircase, Grand Theatre, Blackpool, 1894, 2020
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
How Can I Perform As An Image? (Catherine Hamilton and Burgundy Circle)
Collage on A4 watercolour (300gsm) paper (210 x 297 mm)
How Can I Perform As An Image (Getty Jasonne with Gold Triangle Head)
Collage on A4 watercolour (300gsm) paper (210 x 297 mm)
How Can I Perform As An Image? (Erni Erica with Gold Square)
Collage on A4 watercolour (300gsm) paper (210 x 297 mm)
How Can I Perform As An Image (Abstract / Bauhaus Catherine Hamilton)
Collage on A4 paper (210 x 297 mm)
How Can I Perform As An Image? (multicolour silhouette Getty Jasonne)
Watercolour on A4 paper (210 x 297 mm)
Pose and Shadow, Dorothy Dilley
Watercolour on A4 watercolour (300gsm) paper (210 x 297 mm)
Jan 052019
 

Here are some photographs from the exhibition I recently put together, based around my book, Viewing Pleasure and Being A Showgirl, How Do I Look? Thanks to the artists who took part: Sophie Lisa Beresford, Julie Cook, Nwando Ebizie as Lady Vendredi, Alice Finch, Laura Gonzalez, Lucy Halstead, Sharon Kivland, Britten Leigh, Chloe Nightingale, and Isabella Streffen. 

Jul 162018
 

My book has been published, Routledge. 

About the book: 

Drawing on interviews with a breadth of different showgirls, from shows in Paris, Las Vegas, Berlin, and Los Angeles, as well as her own artworks and those by other contemporary and historical artists, this book examines the experiences of showgirls and those who watch them, to challenge the narrowness of representations and discussions around what has been termed ‘sexualisation’ and ‘the gaze’. An account of the experience of being ‘looked at’, the book raises questions of how the showgirl is represented, the nature of the pleasure that she elicits and the suspicion that surrounds it, and what this means for feminism and the act of looking.

An embodied articulation of a new politics of looking, Viewing Pleasure and Being a Showgirl engages with the idea (reinforced by feminist critique) that images of women are linked to selling and that women’s bodies have been commodified in capitalist culture, raising the question of whether this enables particular bodies – those of glamorous women on display – to become scapegoats for our deeper anxieties about consumerism.

Jan 162018
 

A chapter I have written on the representation of strippers in the media and contemporary art has been published. It is in the Routledge Companion to Media, Sex and Sexuality by Clarissa Smith, Feona Attwood and Brian McNair.

In it, I write about pop videos, films, popular feminist critical perspectives, academic writing, and activism. I also write about artworks including the Girlie Show by Edward Hopper, Lucky 13 by Philip-Lorca Di Corca, The Politics of Rehearsal by Francis Alys, Abstraction Licking by Christina Lucas, Cosey Fanni Tutti’s collages, Strip by Jemima Stehli, performance pieces Strike a Pose by Kate Spence, and Sister by Rosana and Amy Cade.

 

 

Aug 272010
 

I went to University of Nevada, Las Vegas (UNLV) special collection to meet the women who started the oral history archive there, and read some of their transcripts http://www.library.unlv.edu/speccol/).  The testimonies of the various Las Vegas showgirls were amazing and addressed such wide issues from technique, upbringing, travel and visa arrangements, racism in Vegas etc.  They make for amazing reads and I managed to photocopy some of the best.  This made me wonder about using appropriated interviews too.  I’m not sure I have to be the interviewer, I’m just really interested in the voice of the showgirl.  It still doesn’t quite answer the question of what I will do with the interview material, but it got me thinking about it.