ARTISTS TALKING

This section looks at digital media.

It includes William Gurney's development from media design to work for the BBC, Jeremy Wood's GPS drawing project, Marion Kalmus' extensive use of this media for site-specific installations and Adele Prince's move between dance and interactive arts.

Jeremy Wood

After my degree I went home and got a job to pay off some debts. I invested in a computer to develop a project called Spot Map that I thought was potentially commercially viable. I also began to teach myself web design in order to make a living.

My only thoughts were to keep ploughing on, as I knew it was what I wanted to do and what I was good at. I thought you'd have more freedom as an artist but the administration and management does actually prevent you from making work, as so much time and energy is spent chasing, calling up and emailing, as you try to establish yourself. It's not necessarily an enjoyable side of it, but you want to get it right. It takes a healthy dose of self determination.

In terms of developing my GPS drawing project I've had a strategy from the very beginning. Because it's digitally-based I set up my own gallery on the internet.

I was getting other people involved, such as skydivers and whale hunters and pilots and hikers and bikers - all the people that use this technology - essentially getting them interested and involved, collecting their work so that they would publicise the project in their circles.

Once I had a substantial collection in the gallery I steered away from the technical GPS side to promote the project as serious and viable.

My main collaborator is programmer Hugh Pryor. He translated the GPS data in to three dimensions, and we've been using this to get some of the incredible visuals that I would not have been able to get on my own.

There are also collaborations with other designers and artists. The 'Taking a Line for a Walk' exhibition was important for me as it demonstrated I could take this concept and make something physical from it.

By putting something on the walls and making 3D models from it meant that people could visit a physical space to see the work.

The exhibition led to doing workshops with Oxford's Museum of Modern Art as part of The Big Draw (National Drawing Day). When MOMA was refurbished in the summer, they displayed the project in the foyer alongside the Tracey Emin exhibition. I've since had other people coming in and asking me to run workshops.

I have been lucky because on the whole, I do get approached to do exhibitions, workshops and projects. Also when I exhibit, quite unexpectedly, I do sell.

I'm working on a sculpture project in London that links with web cams at www.rogerperkins.com, another thing I've been doing to support myself.

As far as MA's are concerned I took a year out purposely as I don't like the idea of people going straight from BA to MA. I think you need some time out, but then this whole project kicked off and I'm in a position now where I'm living and working and my practice is going well.

Jeremy Wood did a BA (Hons) Fine Art at the University of Derby (1996-1999). The GPS drawing project is at www.gpsdrawing.com

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

Marion Kalmus

I use digital technologies, sound and light projection to create cinematic, painterly installations in unusual spaces. These vast scale, site-specific works are complemented by my intimate performance and photographic gallery works. My work is about insignificant heroism: perseverance in the face of disappointment and mortality, about how all living is mundane and profound and about the joys and failures of communication.

I am currently working on a number of major commissions, including an architectural work for Norman Foster's National Botanic Garden of Wales.

I have curiosity across media, so acquiring new skills is the only strategy for me. I listen to the artwork's demand, and make each piece in whatever form it wants to be made in. The works are linked by matter rather than material.

I'm driven and I work extremely hard. But I do feel fortunate. There are many artists who haven't had the opportunities that I have. I've been successful at raising huge sponsorship and attracting collaborators with amazing skills, such as Arup Acoustics who produced the surround-sound track for my project Restoration Drama – but I haven't got any secret weapons. I'm just very straightforward about what I'm asking for. I like working with people who are sincere, committed and inspired. I think if you're honest about your passion, likeminded people galvanise around you. This may sound idealistic, but it's worked for me.

[a-n] MAGAZINE has been an invaluable aid. In 94 on the final year of my BA at Goldsmiths, I entered an open submission competition, which I saw advertised in the magazine, to produce a work for the the Royal Festival Hall. It was the first advert I'd responded to and I was amazed when I was selected. The commissioned installation was my first publicly-shown work. Later that year, I saw Moviola (now FACT) advertise in the magazine for submissions for Video Positive 95. Encouraged by my previous success, I applied and was commissioned to make Deserter, which was shown at Tate Liverpool and toured to Chapter and Oriel 31.

In 97 I responded to an advert in the magazine for the Kettle's Yard Fellowship. I was awarded this and 'I Won't Promise You the Earth', my solo show at Kettle's Yard, showcased sixteen new works. The fellowship led to multiple opportunities, the latest of which was Restoration Drama, shown at the Festival Theatre, Cambridge in 2000.

Since 98, although I've been approached directly with commissions, I still browse the opportunities section of [a-n] MAGAZINE. Also, now that I'm working on large budget, permanent public commissions, I base my contracts on the format of [a-n]'s excellent Visual Arts Contracts. I would recommend these contracts as an introduction to legal matters for all artists.

Adele Prince

In my final year at Manchester Metropolitan University, I had a plan of action to get my work out there. So many people find this hard, but I think you just have to get over the embarrassment of talking about yourself and really go for it; how else are people going to find out about your work? One invaluable experience for me was working in the box office at Cornerhouse in Manchester, where I really got to know who people were. I now have an email mailing list and a snail mail list; this helps me to remind people I'm there!

I spend a lot of time scanning [a-n] Magazine and writing proposals, and I have found that my RAB is a really important source of information. I have also developed an online cv, that allows me more space to say what I want and to illustrate my projects in more detail. Recently, I was lucky enough to receive a Digital Arts Bursary from East Midland Arts – this allows me a bit of space to work on a web-based project, and to really spend some time experimenting with new ways of working.

Whenever I do earn money through my work, I like to put it back into my work. I see this as my 'art money' and try where I can to make it work for me.

Adele Prince did a Dance Theatre BA (Hons) at the Laban Centre for Movement and Dance, London (1994-1996), and an Interactive Arts BA (Hons) at Manchester Metropolitan University (1998-2001).
www.adeleprince.com
www.lost-something.co.uk

For an update on Adele Prince's career go to Artists' Profiles Index

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.