ARTISTS TALKING

These profiles focus on design, demonstrating the range of its application.

It includes MA graduate Helen Felcey, Next Move recipient Isla Chaney, Helen Carnac who went on to do a trade show in Germany, Tim Parsons' and Shin and Tomoko Azumi's experiences post RCA, Kei Ito's move from graphic to fashion design, William Gurney's development from media design to work for the BBC, partnership Electricwig's strategy after graduation from a furniture degree at High Wycombe, Angela O'Kelly's foray into Chelsea Craft Fair and Julie Cockburn's relationship with Applied Arts Agency.

Julie Cockburn

It's not easy to maintain networks after college and my main contacts have been made through sheer legwork. During my degree show, Paul Smith's creative director for the Floral Street shops approached me. I followed that up three or four years' later and was given a window and some internal space to show in. That gave me confidence to take my portfolio to galleries and dealers.

There comes a time after graduating when it's important to show your work. Perseverance resulted in an exhibition at London's Applied Arts Agency. This opened doors for me, including being awarded a Crafts Council Setting Up Grant, various commissions, designing graphics for Dries Van Noten, ceramic design for Emma Bridgewater, and a 3-dimensional periodic table of the elements for the Hackney Building Exploratory.

I met Emma Hill from London's Eagle Gallery through a college friend. She has championed my art books for many years, selling them to collectors around the world, including the Yale Centre for British Art. Being encouraged helps me keep on making, and making necessitates showing. This in turn is the catalyst for more work, more shows, more encouragement.

Alongside working as a fine artist and designer, I have worked for media design consultancy HWF Creative and product designers John Julian Design. Being creative enables you to work in many environments. Building a business and dealing with cash flows, marketing etc can be equally imaginative and rewarding. I work two or three days a week as a consultant to designers.

My fine art practice involves a journey that I have to take on my own. I make from a true passion - it is not led by market trends or fashion or other art practice. Beginning to make a living from it is like a dream come true.

My own work tends not to be reference to the art world, rather it is the materials and images I use that inspire me.

I am now making pieces that are simple, fluid and graphic, 2-dimensional and a bit messy. The filling of the screw holes in the plywood has influenced my latest work, so perhaps it's impossible to separate my fine art practice and the design work.

I miss the formal and informal critiques I had at college, so I have set up a small discussion forum once a month for artists to talk about their work.

I think this gives you a different perspective about what you are doing. I am continually experimenting with new techniques with my own practice and I hope that the work I produce will continue to attract commissions, design briefs and consultancies in the future.

Julie Cockburn has a BA (Hons) sculpture, Central St Martins College of Art and Design, London, 1996.

Angela O'Kelly

Since graduating I have maintained and made professional contacts and networks through exhibitions and shows such as the annual London Chelsea Craft Fair in London.

Through selling exhibitions, I get direct contact with customers and make many contacts within the trade. Every year I produce a new postcards and publicity to send out to a regularly updated mailing list of customers, galleries and others in the industry.

In my own creative practice, taking time out to develop new work can sometimes be difficult. I have to work faster and be more focused than at college. I constantly think of new ideas and develop them through drawing and experimentation with new materials.

My research everything from nature, museums and exhibitions to trends, colours, fabrics and shopping. I spend time analysing my products, from quality control of materials and finish, to the aesthetics of the finished piece.

I take any opportunity to generate different types of work. There is always an element of chance, luck, and word-of-mouth involved. In 2001 Dumfries and Galloway asked me to create a piece of work for the Princess Su Su project. Medway Council commissioned work for the High Tech Low Tech project, where I created artworks out of left over exhibition catalogues.

Exposure in exhibitions and shows helps promote a variety of job offers. As my work crosses boundaries between jewellery, sculpture and textiles I lecture in jewellery and textile departments, including at Edinburgh College of Art, National College of Art and Design and Ballyfermot College of Further Education in Dublin.

I have produced jewellery for catwalk shows and for photo shoots when working with fashion designers, designed scarves for a textile company and designing mass-produced lower end jewellery products.

My work has also been collected by the Crafts Council, American Craft Museum, Royal Museum of Scotland, Cleveland Crafts Centre and Bowes Museum.

I completed a business course with the Crafts Council of Ireland and Dublin City Enterprise Board that developed my administration and marketing skills.

I seek constantly to further my development as an artist through gaining new skills on specific short courses and by attending seminars, conferences, summer schools and evening classes.

I keep in contact with what's happening through talks, openings, courses, and by getting to know people locally working in design/crafts. I subscribe to Crafts, American Crafts, Metalsmith, and join associations such as the ACJ (Association of Contemporary Jewellery). Local artists' and designers' networks are a good way of keeping in touch.

Angela O'Kelly did a BA (Hons) Design and applied arts - jewellery, Edinburgh College of Art, 1997 and a Postgraduate Diploma, Design and applied arts - jewellery, Edinburgh College of Art, 1998.

electricwig - Tim Denton & Johanna Van Daalen

The first months after leaving university were spent introducing ourselves to key people and finding out the benefits, grants and sponsorships available. Later we applied, and were accepted, onto the Crafts Council's Next Move scheme. This gave us a free studio, grant and access to machinery at Liverpool Hope University.

In Liverpool we made contact with the Liverpool and Manchester Design Initiative. The Arts Council England - North West has provided training, support and promotion through various exhibitions including a subsidised stand at 100% Design in September, and Designers Block in April as part of the annual Milan Furniture Fair.

Having a community to trade information and contacts has proved to be an important factor in our development. The university environment provided by Next Move has meant we are surrounded by tutors who give us a greater understanding of the range of materials and processes available. Some part-time teaching there has not only provided some income but also valuable experience for getting teaching elsewhere.

Working as a partnership is beneficial to our practice as it would otherwise be difficult to find such honest assessment of your work. Working as a team has taken some time to adjust to, but one advantage is that we can divide the less desirable work between us.

Exhibiting designs brings first-hand reactions to our work and builds relationships with retailers, press, organisations and other designers. We have maintained these contacts by keeping them up-to- date with our events through our website and mail-outs.

A recent collaboration with a Japanese company Trico took us into a new area of design. We were asked to design a piece of clothing by approaching it from a product designer's point of view. The resulting work has given us an insight and valuable experience into working with manufacturers.

We are working on an exhibition with the Applied Arts Agency in London and hopefully at galleries in The Netherlands that should promote our work to a wider audience and raise our profile internationally.

We further our development through constant reassessment of what we are doing, where we are going and why we are doing it. We have found that discussions with others who have already been in, or are going through, a similar situation invaluable. Tim Denton and Johanna Van Daalen did the BA (Hons) contemporary furniture design, Buckinghamshire Chiltern, High Wycombe, 2001.

William Gurney

Before I even got my degree grade I got the opportunity to work for an e-commerce outfit, which I saw as a good opportunity to get some industry experience developing commercial projects. I only did it for three months because I'd already been accepted to do a masters at the University of Westminster.

It gave me enough money to survive on the MA, some hands-on experience working in a job and a good insight into the industry and the realisation that e-commerce wasn't where I wanted to go. I had a feeling that if I did succumb to the nine to five thing then I would probably be a struggling artist and not have the time or energy to do art.

We had modules on my degree and MA that were about teaching you how to survive as an artist and on funding and finding venues and bodies that would help in supporting your artwork. We were not taught that you could do it yourselves. It was always down to someone else to give you the funding which I didn't want to rely on. I thought that was too much of a hit and miss process for what I wanted to do.

During the MA, my brother and I put our heads together and felt that we could do some freelance, commercial design work to fund our art. I've never been one to follow the conventional route otherwise I wouldn't have my own company now.

The MA was good as we had to find a venue for the work, work out costs and do press releases as well as studying and producing essays and films. Also, it was important to my career to have this qualification because it gives me more credibility in the commercial world.

We have converted our own studio with a separate office to run the business from, much more of a clinical, sterile environment. This is a practical thing as when we're making films there's generally a lot of dust flying around and it helps to keep the two worlds separate.

We've worked a lot for the BBC, producing educational software with the Tweenies, but it is important to stress that it is all educational stuff that fits into the national curriculum. They're interactive lessons that help children with language, maths and science. We've also done some stuff for BBC Sport that was advertised in the last World Cup.

We tend not to collaborate as we're a niche company and can produce stuff in house. Within our own work, we help each other out but my work is still mine and my brother's is his. We're working on a couple of films that we can't see the end of at the moment because the company is constantly changing. We're also doing more design work for print as we're skilled in that area too.

Initially we had hoped to get a few people together who would stick together in the company and make work. But the reality of it is that people fall by the wayside and get other jobs and forget about it, whereas I'm still fighting.

It's been sheer determination not to fail or give in. It's so tempting just to think I'll get a job that's more structured and know there's money coming. But it's starting to pay off slowly but surely. It's not something I feel I could have done by myself though, it's a joint venture.

William Gurney did a BA (Hons) Art and Design: Media Arts: Digital Video (1996-1999) at the University of Hertfordshire and an MA Design and Media Arts (1999-2000) at the University of Westminster. www.beyondlush.com

Kei Ito

This is not my first career. Originally I trained as a graphic designer in Tokyo, working on packaging design for clients such as Issey Miyake. I felt stuck though, because it wasn't wholly my creativity and there were too many restrictions. I was asking myself all the time – Who am I? What do I want to do?

I came to the UK to study fashion design at Central St Martins. I saw that you had to be clever and tough to survive here. I didn't know London very well and when I looked for a studio I thought I would be able to get one in central London: I worked my way out until I got to Bethnal Green. First, I had this studio on my own, then I shared it with a friend to make ends meet and now it is mine again.

There are always ideas in my head for new pieces, and these are based on finding a new material or technique I want to try out. Out of twenty ideas, one may work. Production of my work roughly breaks down into three portions: bags (many of which are batch produced by a Hackney factory), clothing for personal clients and exhibition installations. In this way I feel challenged and at the same time I can financially grow. I've worked with dance and theatre companies, and also on a public art commission. Commissions are advertised in places such as [a-n] MAGAZINE.

Internationally, I am about to move into a new phase by returning to my roots. I haven't looked at the Japanese market at all, and although I sell well in the USA (fairs and shows are good for this), I know I have to keep targeting new customers. Australian customers have been very enthusiastic so I also want to look there.

Helen Felcey

I specialised in ceramics in the third year of my degree. It was a great course but by the end of the three years I still felt very much at the beginning; I knew I could make desirable, commercially viable objects but I wanted to develop the work further. My MA, made possible with an AHRB grant, turned out to be a really intense and fantastic year. I spent most of the time there asking questions and left the course with so much more confidence, a sense of purpose in my work, and with a much stronger working method – finding a mid-ground between functional design and artistic statement.

On the strength of my MA show, I have been invited to contribute to 'Ceramica' in North Devon later this year, and through contacts made at 'New Designers', I am currently exhibiting in 'Seize The Moment', a group show at Bilston Craft Gallery, Wolverhampton (until 25 May). This year I am also starting a temporary teaching post back with my old college at Manchester Metropolitan University. I have to remind myself that I can't do everything at once but the opportunities for younger artists are there – you just have to go out and get them.

Helen Felcey did a BA in 3D Design at Manchester Metropolitan University (1997-2000) and an MA in UWIC: Ceramics at Cardiff School of Art and Design (2000-2001).

Isla Chaney

After university I exhibited at the 'New Designers' at the Business Design Centre in London. The response to my work was extremely positive. I had interest from several galleries, which has since resulted in exhibitions.

I have kept my overheads to a minimum by producing work from home. Contacts made with local artists have proved to be very useful. I have kept myself motivated and focused on my work and career by applying to appropriate competitions. I was selected for the 'Setting Out' exhibition at Contemporary Ceramics in London and also for the 'Ceramic Contemporaries 4' a national touring exhibition. I am also taking part in the Dorset Arts Week in association with South West Arts.

At the end of January this year I was accepted onto the Crafts Council's Next Move scheme, which means I have a studio space, access to specialist equipment and technical support. Based at the college of Art and Design in Plymouth, the project is part-funded and will run for two years. It offers me the opportunity to develop my business and creative practice, whilst showcasing good business practice to undergraduates. I am enjoying developing new work and intend to continue with my promotional activity. I feel that the opportunities and contacts gained through the scheme will prove to be very useful.

Isla Chaney graduated in 2001 from a BA (Hons) at Bath Spa University College.

Tim Parsons

The most formative time I have spent in terms of developing my practice was at the Royal College of Art. Seeing renowned practitioners in action gives you great confidence because you can see that there is no mystery to their success. This made me realise that I could be a designer from my flat.

By having the opportunity to ask others how they 'made it' I learned that most designers have a period of hard slog before they reach a level of stability. Setting this as a goal, and believing it was possible, meant I constantly looked for ways of achieving it. Work became about what I wanted to put out into the world and how I was going to get it there – not if my presentation boards were the right colour. Matching my ideas to suitable companies and showing an understanding of their capabilities has resulted in some very successful collaborations with manufacturers and organisations.

On a practical level I have financially supported myself through teaching part-time and doing bits of technical drawing and computer rendering. The key to this seems to be to identify what sought after skills you have, and applying them.

Tim Parsons did a BA in Industrial Design at the University of Teesside, Middlesbrough (1994-1996) and an MA in Design Products at the Royal College of Art, London (1998-2000).

Helen Carnac

I carried on making work straight after college. I was very pro-active in getting my work seen and began to do shows almost immediately. I received a Crafts Council Setting Up grant in 1995, which enabled me to buy proper equipment and tools and be promoted by the Crafts Council.

The same year I did my first trade show in Frankfurt. I went to college in Germany for a short time and knew that my aesthetic for my work would probably be enjoyed there. The show went really well and I have continued to visit Germany on a regular basis to build contacts. I have always believed it's important to get out there and meet people who are passionate about my subject.

For many years I didn't make a living and supported my business but not myself, however this gradually took its toll, so I decided that I needed to change my approach. I now support both through teaching. I feel exceptionally lucky as I find teaching stimulating and rewarding and it has enabled me to approach my work from a different perspective. I can make things without the pressing issue of selling them immediately and have the time to consider what I want to achieve.

Helen Carnac attended Fachhochschule Fur Gestaltung, Schwabisch Gmund (1993) and did a BA in Silversmithing, Jewellery and Allied Crafts at London Guildhall University (1991-1994).

Shin and Tomoko Azumi

After graduating from the Royal College of Art in London we formed a business partnership combining our training in industrial design and architecture. We began to take part in as many exhibitions as possible to ensure that our work was seen by a wide and varied audience. This included attending shows such as '100% Design', 'Design Resolutions' by New Designers in Business, and at various independent shows across the UK and abroad.

We were also a member of Design Nation (previously called New Designers in Business) and through this took some seminars on sales, accounting and promotion to help prepare us for dealing with clients. We also received a Crafts Council Setting Up grant, which initially contributed to supporting our practice financially.

Through attending exhibitions, selling events and trade fairs, we met exhibition organisers, retailers and manufacturers, and won several awards. Our first aim was always to meet with the press and the retail companies. After we had established good press coverage and had achieved an impressive sales record we then had the confidence to start building contacts with manufacturers.

Through having actual 'products' to market rather than 'drawings' we have been able to significantly move forward, and the long-term development of our business has been smooth.

The writers

Libby Anson is an independent professional, creative and personal development consultant, who also works as a freelance lecturer and writer.

Abigail Branagan is a freelance consultant and marketing director of the Applied Arts Agency - a retail and gallery space in Clerkenwell, London. Originally trained in fine art, she has been working in the creative sector for eight years and has undertaken projects for a range of organisations, including Mazorca Projects, London.

Mark Gubb is an artist based in Nottingham working in a range of disciplines from painting to installation to video. His installation and film commission for Grizedale Arts references classic British horror and its cross pollination with American culture. A lecturer at the University of Derby, South East Derbyshire College and a regular contributor to a-n's publications, he is also co-director of artist-led initiative Loadstar.

Wendy Mason is a designer-maker in Yorkshire who also works as an arts consultant and trainer.

Graham Parker is an artist, critic, curator and lecturer involved in artist-led initiatives in Manchester. His work has been commissioned by Henry Moore Institute and Tate Gallery, Liverpool (Artranspennine), Manchester City Art Gallery, Compton Verney, Foundation for Art and Creative Technology and Lower Manhattan Cultural Council. He has shown extensively in the UK and internationally. He is Visual Arts Officer at Salford University and co-course leader of Tate Liverpool's University Network MA course module and artistic director (with Dave Beech) of floating ip project space Manchester.

Emma Safe is an artist and writer on the visual arts based in Birmingham.