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)

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)

2018

 
Felicity Means Happiness, 2018
Video, 16 mins

The story of a 98-year old former chorus girl. In the thirties, Felicity was a Bluebell Young Lady. She toured France, Germany, and Italy until WW2 was declared in Italy. Felicity Means Happiness shows Felicity, telling her stories, and Carr showing Felicity her artworks inspired by 1930s dancers, and footage of an Austrian film Felicity was in. What is conveyed is the connection between the two women as well as the realities of dancing and living independently in the thirties.
Bauhaus Bühnenchor, 2018
Performance, 35 mins
Construction House, S1 Artspace

Choreography by Lucy Haighton
Scarf design by Katy Aston / Fison Zair
Performers: Celia Anderson, Julia Bisby, Jo Dunkly, Liz Searle, Emily Stokes, and Roanna Wells.

Bauhaus Bühnenchor is a live performance that experiments with the girl troupe kickline. Using the kickline as a form with the potential to represent women’s collective and creative force Bauhaus Bühnenchor imagines the experiences of Weimarian female art students and chorus girls as well considering the context of dancing in a troupe today. 

2013

 
Scene 3, 2013
Video, 3 mins 50 secs

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. 

Apr 052018
 
Left to right: Manifesto, 2017, Ascending A Staircase, Library Theatre, Sheffield, 2018, Ascending A Staircase, City Varieties, Leeds

Rowan Bailey put together the first show at the Market Gallery as part of the Temporary Contemporary collaboration between the University of Huddersfield and Kirklees Council and the Huddersfield covered market. Space, Place Action brought together the research staff at the university. I used the opportunity to test out my new series of theatre interior photographs, Ascending A Staircase.

Jan 202018
 

Sean Williams’s exhibition For A Burning Love has transferred to The Old Lock Up, Cromford. 

Contemporary British Painting featured the show in it’s newsletter: 

For a Burning Love

In January ‘For a Burning Love’ moves to the Old Lock Up Gallery in Cromford, a space that, fittingly some might say, used to be a jail. ‘For a Burning Love‘ celebrates and demonstrates the breadth of contemporary painting and includes works by Mandy Payne and Sean Williams. It encompasses highly-detailed realism and gestural abstraction, paintings that are almost sculptures and photographs interrupted by the introduction of paint. In this way ‘For a Burning Love’ questions what a painting might be and so, in turn, questions our fixed ideas about most things. ‘For a Burning Love’ may also offer a clue into why artists choose to use paint over other media to express their ideas and explore possibilities.

The Old Lock Up Gallery
19 The Hill, Swifts Hollow, Cromford, Derbyshire, DE4 3QHJ

Preview: Saturday January 20th, 1 – 4pm
Exhibition dates: 20 January – 25 February
Opening times: Thursday – Saturday 11am – 6pm, Sunday 11am -4.30pm

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.

 

 

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!

Jun 212010
 
Review of Leigh Ledare: The Confectioner’s Confectioner, 16th April – 5th June, Pilar Corrias, London
 
Leigh Ledare’s ongoing photography work generously reveals the relationship he has with his mother.  In the recent solo show at Pilar Corrias fragments from his childhood, notes written by Tina/Mom and himself make explicit some elements of their relationship.  Tina/Mom’s thoughts on models is a beautiful ode to the creativity of the photographer’s model, her informal hand-written will expose the love and trust she places in Leigh.  A narrative develops through the notes; the relationship with Dad ended, and Leigh, in some way become Mom’s man/boy.  She talked to him, revealed herself emotionally and physically.  As a ballet dancer, she was trained to be invested in her body, her artistic tool.  This is the back story.  One day, Tina/Mom asks Leigh to photograph her, to record her aging, vulnerable body now, before it is too late, before the flesh decays into an unphotographable state; before it can no longer be the object.  And so Leigh dutifully does.  Complicit in this recording, he is the third person in the room whilst Tina/Mom gets it on with Leigh-substitute boys.  Her acts performed for Leigh, a performance for his benefit.  Does she want to arouse Leigh?  Make him jealous?  Or push him to reject her out of repulsion for her sexuality, her aggressive exhibitionism designed to ensnare Leigh in an Oedipal game.  Does she want him to throw down the camera and fuck her, pushing aside his replacement?  Sometimes she is naked and alone, still enjoying her sexuality, but without a partner, less performed.  If Leigh did not record this, if he did not have his camera in the room, how would he have reacted?  How did he react, used as Tina/Mom’s sexual documenter?
 
Which answers the question, how can a sexually explicit photograph of a woman present without question the subjectivity of that woman, before or even preventing the objectification of that woman?  Through the Oedipal narrative, Leigh becomes less the exploiting photographer and more an equal participant with the subject.  The two locked into their fixed positions.  The captions with the photographs, descriptively position the image contents.  But even without such contexts, within the image frame, the faint silvery traces of stretch marks on Tina/Mom’s stomach testify to her mother status and jar with her version of maternal she is therefore enacting.
 
Leigh reaches beyond this project to challenge his own position from outside this mother-son courtship.  Understanding the plane of representation as ‘the site of the trauma’, the place in which his Mom revealed herself to him, but in a sense foreclosed other possibilities of their relationship, he places himself in Mom’s position by re-enacting her fantasies by being the fantasy for other women.  Leigh becomes women’s object, the Leigh-object: a gift for mother?  Leigh-photographer becomes Leigh-model relinquishing the responsibilities of the lens.

2007

 
Ladies-leaning-over-gate
I Saved You From Obscurity, Others Are Not So Lucky (2007)
Box 20 cm x 13 cm x 2 cm, photograph 17.5 cm x 12 cm
Card, satin, B&W photograph

A multiple of one of six different fibre-based, hand-printed photographs presented in a red-satin lined box. The photographs are made from negatives found in a Parisian flea market. A central portion of each photograph has been removed with a scalpel.
Interior-with-mirror
I Saved You From Obscurity, Others Are Not So Lucky (2007)
Box 20 cm x 13 cm x 2 cm, photograph 17.5 cm x 12 cm
Card, satin, B&W photograph
Interior-with-drawers
I Saved You From Obscurity, Others Are Not So Lucky (2007)
Box 20 cm x 13 cm x 2 cm, photograph 17.5 cm x 12 cm
Card, satin, B&W photograph
Beach-tall-lady
I Saved You From Obscurity, Others Are Not So Lucky (2007)
Box 20 cm x 13 cm x 2 cm, photograph 17.5 cm x 12 cm
Card, satin, B&W photograph
Beach-short-lady
I Saved You From Obscurity, Others Are Not So Lucky (2007)
Box 20 cm x 13 cm x 2 cm, photograph 17.5 cm x 12 cm
Card, satin, B&W photograph
3-people-outside-church
I Saved You From Obscurity, Others Are Not So Lucky (2007)
Box 20 cm x 13 cm x 2 cm, photograph 17.5 cm x 12 cm
Card, satin, B&W photograph
Shut-box
I Saved You From Obscurity, Others Are Not So Lucky (2007)
Box 20 cm x 13 cm x 2 cm, photograph 17.5 cm x 12 cm
Card, satin, B&W photograph
Spines

I saved you from obscurity, others are not so lucky

A found negative is a mystery–has the photograph ever been printed?  If so, how big was the photograph, how did it look, were they dearly loved images carried around, prints forgotten at the back of a drawer or large framed photographs?

This piece of work explores the mystery by presenting photographs from negatives found in a flea market in Paris, in a box fit for jewellery, but with a portion of the centre of the image carefully removed with a scalpel.  The benevolent gesture of saving these images is conditional.

The hole has other meanings too.  By taking out a crucial part of the centre of the photographs, even less is known.  The story is unfinished.  The hole gives the viewer licence to complete the picture themselves.  The photograph is whatever you want it to be.

This piece of work is a multiple and I have produced 100 numbered boxes with one of the six photographs in each.