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.

2021

 
Still from Modernity / Power
Video, 12.50 mins
Made from appropriated backstage musical Hollywood films made between 1929 and 1940, Modernity / Power reframes latent power dynamics on the screen through text interventions and foley sound–clips, clicks, clapping, tap-dancing, and breathing. These disruptions draw attention to the labour of the bodies performing and their incredible skills.

Pose and Shadow, Alexandra Danilova
Watercolour on A4 watercolour (300gsm) paper (210 x 297 mm)

2010

 
Being & Becoming, 2010
Colour photograph, 30 cm x 40 cm
Assembling My Critical Tools & Trying Them Out, 2010
Performance Conference Paper, 11 minutes
Assembling My Critical Tools & Trying Them Out, 2010
Performance Conference Paper, 11 minutes
Assembling My Critical Tools & Trying Them Out, 2010
Performance Conference Paper, 11 minutes
Assembling My Critical Tools & Trying Them Out, 2010
Performance Conference Paper, 11 minutes
Assembling My Critical Tools & Trying Them Out, 2010
Performance Conference Paper, 11 minutes

2008

 

Art Encounters (2008) 

An audio piece.  I recount some formative art encounters, in order to think about what remains of the encounter.  The afterwards reflections; did these experiences form the artist I am now?  I presented this as part of the Mid-Residency group show at CalArts.

Wish You Were Here, Real Photographs, Mlle De Bremont (2008)
Series of nine photographs
B&W fibre-based photograph, edition of 5, 51cm x 60 cm
Edition of 15, 20 cm x 25 cm

Recreations of found cigarette cards from 1939, using myself.

Wish You Were Here, Real Photographs, Maria Gregor (2008)
Series of nine photographs
B&W fibre-based photograph, edition of 5, 51cm x 60 cm
Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Maryse Grandt (2008)
Series of nine photographs
B&W fibre-based photograph, edition of 5, 51cm x 60 cm
Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Jacqueline Ford (2008)
Series of nine photographs
B&W fibre-based photograph, edition of 5, 51cm x 60 cm
Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Iya (2008)
Series of nine photographs
B&W fibre-based photograph, edition of 5, 51cm x 60 cm
Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Ginette Vrala (2008)
Series of nine photographs
B&W fibre-based photograph, edition of 5, 51cm x 60 cm
Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Getty Jasonne (2008)
Series of nine photographs
B&W fibre-based photograph, edition of 5, 51cm x 60 cm
Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Erni Erika (2008)
Series of nine photographs
B&W fibre-based photograph, edition of 5, 51cm x 60 cm
Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Catherine Hamilton (2008)
Series of nine photographs
B&W fibre-based photograph, edition of 5, 51cm x 60 cm
Edition of 15, 20 cm x 25 cm


One afternoon in 2005, I came across a tin full of cigarette cards at a flea market. I leafed through to look more closely at the miniature pin-ups. I noticed the backs of the cards with the dated biographies of the girls on the cards. I selected all the dancers from the tin (there were actresses, models, swimmers and tennis players I rejected, no one in the tin I had heard of before) and bought all of them. As I walked home, I decided to recreate all the photographs using myself as the model. The original cigarette cards were objects to be held, looked at closely. They were private cards to view, collect and exchange. As enclosures in cigarette packs in the late 1930s, it was presumed that these were gifts for a male consumer. Looking at them with contemporary eyes, they look glamorous, innocent, staged and seductive.

2019

 
A Place To Perform (Because Other Places Were Inhospitable), 2019
70 cm x 35 cm
Giclee photograph on smooth white cotton paper
Bubikopf, 2019
Performance, 40 mins

Bubikopf is an art history lecture on gender that morphs. An examination of women in the modernity of the Weimar Republic with new opportunities to be independent in the city, to go to art school, perform in cabarets. Weaving together gendered forms of feminine visibility this piece spotlights and speculates women’s entertaining, creative and Avant Garde work.

Bubikopf, 2019
Performance, 40 mins
Bubikopf, 2019
Performance, 40 mins
Bubikopf, 2019
Performance, 40 mins
Bubikopf, 2019
Performance, 40 mins
Ascending A Staircase, Library Theatre, Sheffield, 1934, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, City Varities, Leeds, 1865, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, North Pier Theatre, Blackpool,1863, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Stockport Plaza, Stockport, 1932, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Stockport Plaza, Stockport, 1932, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, North Pier Theatre, Blackpool,1863, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Victoria Theatre, Halifax, 1901, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Pendle Hippodrome, Pendle, 1914, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Lyceum, Sheffield, 1897, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Pomegranate, Chesterfield, 1879, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Darlington Hippodrome, Darlington, 1907, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Penistone Paramount, Penistone, 1914, 2019
Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm
Edition of 15, 34 cm x 34 cm

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)

2013

 
Scene 3, 2013
Video, 3 mins 50 secs

Aug 162019
 

Documentation from my exhibition at Bloc Projects as part of Platform 2019 exhibitions through Site.

Audio recording of performance Two Songs A Capella and gallery talk, on Bloc Project’s website.

Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Photo Jules Lister
Jul 182014
 

My work will be in Act II and Act III of S1 Member’s Show, Three Act Structure at S1 Artspace, Sheffield.  Act II is open 6th August–23rd August and Act III which is a re-mix of Acts I and II featuring all of the works is open 27th August–13th September.  The opening of the whole show was on 11th July, and now there is a programme of events that will take place during the subsequent Acts.

In particular there will be a publication and print portfolio launch on Friday 15th August and a screening and performance event on Saturday 6th September.  For the latter I am working on a new performance.

I’ll post more about the up-coming events–it’s a very exciting project to be involved in!

May 012014
 

I instigated a video show collaboratively curated with Megan Cotts, Alexis Hudgins, Ali Prosch & Brica Wilcox shown at SIA Gallery in May.  The show featured ten video works by Alison J Carr, Alexis Hudgins, Ivan Iannoli, Julie Orser & Jon Irving, Ali Prosch, Elleni Sclaventis, Matt Siegle, amy von harrington, Brica Wilcox, that respond to the provocation of Hollywood Forever: the dream, the film industry, the cemetery on Santa Monica Boulevard.  Each takes a different approach to Hollywood—from considering the myth, the geography, the surplus of images it gives us, the imperative to perform, the seduction and the make-believe.

More information about the project Hollywood Forever Bios.

image credit Julie Orser & Jon Irving, from The Viewer

Julie_Orser_Jon_Irving_005

Feb 182014
 

I’ve put together a selection of videos to be screened at S1 Artspace, Thu 20 Feb, 6 – 8pm:

Alison J Carr | Lindsay Foster | Alexis Hudgins | Stephanie Owens | Isabella Streffen | Katy Woods

S1 Artspace is pleased to present You Me You Me You Me, a screening of six short video works which will be followed by a discussion between artists Alison J Carr and Lindsay Foster.

In this screening, S1 Studio Holder, Alison J Carr, selected Lindsay Foster’s The Last Frontier as a starting point alongside which she presents four additional works: Notes on You and Me by Alexis Hudgins, The Pulse of Madame K by Isabella Streffen, Nadia by Katy Woods, and her own A Response to Unmastered by Katherine Angel; inviting Foster to select a final piece to sit alongside her own: Making A Past Present by Stephanie Owens.

The videos take different approaches to reflect on personal experiences and collective memories, on images and language and how we find ourselves formed through our encounters with culture. Across the selection are witty, playful observations as well as sincere enquiries. What is it to be a person?

 

Alexis Hudgins, Notes on You and Me, 2010
Alexis Hudgins, Notes on You & Me, 2010