An Art To It

When CAN you call yourself a ceramicist? Kate Clark's @K_ceramics beautiful hand carved ceramics are sold across the country, from the Outer Hebrides to Cornwall, and even over to France. Her many fans include three generations of one family who all independently buy her work; and she still doesn't quite think she's earned the word "potter." She still adds that she's "also a Graphic Designer, as that's what my degree is in." In our lovely chat, Kate talks openly about her journey to being a full time ceramicist: "I've had loads of lessons, I've been taught by fantastic people," she told me, "but I haven't got the stamp, as it were." But when you're making - and selling exquisite work - what more of an endorsement do you need? Kate's passion for pottery began while living with her family in New York City, she followed her kids to an after-school pottery class, fell in love watching them make things, asked if adults could join in, and never really left. She says her first bowl was awful but her teacher persuaded her to persevere and then it clicked. We also talk about: Re-inventing yourself in a new city The buzz of selling your work to people who fall in love with it Learning to throw from two different teachers on opposite sides of Manhattan, then not owning a wheel of her own until lockdown forced her hand Why hand-carving makes almost every piece one of a kind - and why that's a nightmare to price, because "it's not just that piece, it's planning the carving, it's the act of doing The stockist who spent months patiently waiting for Kate to feel ready, after Kate turned down several early offers because being asked for stock felt overwhelming The particular strain of imposter syndrome that seems to follow talented ceramicists specifically - despite years of teaching, a beautifully considered brand, and genuinely excellent work The message from a customer that told her three generations of one family buy her work, and why that means so much to her Bringing her graphic design background into building a considered, cohesive ceramics brand from the very first pot she ever labelled Find Kate's work at https://kceramicsstudio.com/ and on Instagram @K_ceramics

Painting shop shop-window mannequins in Chelsea is not a traditional way to learn the art of blending oil paints, but it's just one of the steps on Sally Hirst's journey to becoming both an artist and a hugely popular tutor. Sally was in Spain in the spring of 2020 when it became clear that the workshops she'd planned for the summer back in Norfolk were unlikely to happen. She got the last flight out of Malaga, announced on social media that she'd find a way to teach online, wrote a blog about it for Jackson's Art Supplies and woke the next morning to around four hundred emails - because Jackson's had listed her online courses, which did not yet exist, among their ten things to do during lockdown. What followed is one of the more decisive pivots I've heard about. She went from a newbie on YouTube to thousands of followers and the beginning of a thriving business. Six years on she has twenty-four courses, around a hundred hours of video, two Instagram accounts, and a book out this autumn. She's also refreshingly candid about the parts that haven't worked: the second Instagram account that never took off, the gallery representation that's been "somewhat elusive," and the awkward suspicion that not needing gallery sales might mean she doesn't chase them hard enough. We also talk about her teaching career which she gave up at time she still had the energy to pursue other things, and how it - and her MA - have helped her develop her teaching style for the artists she works with. In this episode: Why Sally took a whole year off her own practice - and how she avoids resentment when doing two jobs The GP who tore up her job application and told her to sort herself out ADHD as a superpower, and what a late diagnosis actually changed Why a teaching qualification matters more for developing artists than for teaching skills "Leave your audience at the door" and why she advises students not to post new explorations Selling her work well in Spain yet finding UK galleries elusive Writing a book: 50,000 words, hundreds of captions, and no exclamation marks You can find Sally's work and courses here: https://sallyhirstcourses.com/ https://www.sallyhirst.co.uk/ @sallyhirst_courses @sallyhirstartist Her Book, Printmaking for Collage is out this Autumn https://www.crowood.com/book/printmaking-for-collage/

After 13 years of running a successful jewellery business, Claire Gent knew that something no longer felt right, but she wasn't sure what should come next. Picking up an art book in a cafe on a family holiday in Penzance she discovered the work of contemporary painter Alasdair Lindsay https://www.alasdairlindsay.co.uk/; she fell in love with it and it sparked a passion for her to pick up her own paintbrushes. What began as a new creative interest rapidly became an obsession. In 2024, Claire tested a small collection of paintings alongside her jewellery at the annual Contemporary Craft Festival in Bovey Tracey in Devon https://craftfestival.co.uk/. She sold almost every piece, returned home with just two paintings and her partner immediately suggested they build her a studio. And so began this chapter of Claire's creative career. In our chat Claire talks candidly about losing her love for her jewellery business and the excitement of moving onto painting, how she is carrying the skills from one creative career into another, and learning from the burnout she experienced while supplying multiple galleries. We also discuss: • Recognising when a successful business is no longer making you happy • Testing a new creative direction before committing fully • Beginning again without beginning from nothing • Allowing your own artistic voice to emerge from your influences • Using a part-time job to support the development of your work • Pacing growth and resisting the pressure to accept every opportunity • Why Instagram should support the work rather than become the work • The many hats - and occasional grown-up decisions - involved in running a creative business You can see Claire's gorgeous semi-abstract field-scapes - with a hint of the sea - inspired by her home in Cornwall on her website https://www.clairegent.com/

Some guests really need more than one episode, and Kellie Miller is one of them. A successful artist in her own right, she is also founder and director of Kellie Miller Arts, a renowned Brighton gallery representing an exciting mix of national, international and local artists. She also teaches, is involved in philanthropy and plays a major role in the creative life of Brighton - she just has to come back for another chat. But in this very entertaining episode we talk about the realities of life on both sides of the gallery wall: the freedom (and occasional exhaustion) of wearing two hats, why curating is its own act of creativity rather than a lesser cousin to "real" art, and why Kellie believes entrepreneurship is vital in being a successful artist. Kellie is also refreshingly honest about the business side of running a gallery - how gallery pricing actually works, why undercutting a gallery by selling direct to a client who found you through them is one of the fastest ways to end a relationship, and why she thinks art fairs have had their day. She also talks candidly about a pop-up space she lost at the last minute - and the lesson in handling disappointment that came out of it. In this episode: Why being an artist and a gallery owner gives Kellie authority in supporting the artists she represents The invisible labour of curating - and why "you're just a curator" undersells what a gallery actually does How she built her stable of 70 artists, and why the window for taking on new ones is smaller than people think What she's really looking for in a submission Why keeping consistent pricing across the board is essential for artists - and what happens when artists forget that The real cost of art fairs Handling disappointment with grace - and why it pays off later You can find out more about Kellie and her gallery at kelliemillerarts.com @kelliemillerarts

What happens when an artist decides that joy isn't just an emotion - but a creative purpose? In this episode I chat to ceramic artist Emily Hett, whose colourful, tactile sculptures have captured the imagination of collectors and social media audiences alike. Emily's joyful 'blobs' have become her signature, but behind the playful forms lies years of thoughtful experimentation, resilience and a clear understanding of what it takes to build a sustainable creative business. We talk about the moment she realised joy was at the heart of her practice, the extraordinary impact of a viral Instagram reel, and why success isn't simply about algorithms or follower numbers. Emily also shares some refreshingly honest advice about marketing, consistency and finding a way of working that feels authentic. Whether you're just starting out or already running your own creative business, this conversation is full of practical insights and plenty of encouragement. In our chat we discuss: - How Emily discovered that joy had become the driving force behind her work. - Why colour, shape and tactility create such an emotional connection with people. - The value of experimentation and allowing your creative practice to evolve. - What really happened when one Instagram reel reached millions of people—and how it changed her business. - Why artists need to embrace the business side of their practice as well as making great work. - Building an audience without losing sight of why you create. - Creating content that feels natural rather than chasing the latest trends. - Balancing exhibitions, commissions, social media and studio life. You can see Emily's work at https://emilyhettart.co.uk/

When creating with flowers is not quite fulfilling you, it's time to pack away the secateurs and pick up the paintbrushes. Brigitte Girling shares her story in Episode 56 of An Art to It. Brigitte is a fine artist based in Suffolk whose vivid, joyful still life paintings celebrate what she calls "the beauty of the everyday." But her route to the easel was anything but straightforward. In this episode, Brigitte talks about a childhood of creative freedom in Framlingham, being steered away from art at school despite loving it, studying psychology at Exeter, teaching primary school children, and eventually building a thriving floral design business specialising in seasonal, chemical-free flowers. When COVID brought events to a halt, Brigitte found herself retrieving a box of art materials from the attic — materials that had been sitting there for a decade — and quietly began to paint. Within a couple of years she had exhibited at the Colchester Art Society, done Suffolk Open Studios, and become artist in residence at Wickham Vineyards in support of the charity Art for Cure. We talk about: The creative thread that runs through every stage of a life, even when it isn't obvious Why she called herself an artist from day one — and why more of us should How her floristry background shaped her composition and colour instincts without her even realising Changing her mind about galleries — and why she's glad she did Self-limiting beliefs, fear of judgement, and the art of ignoring both What it really means to burst out of the chrysalis of other people's expectations A warm, funny and genuinely inspiring conversation to kick off Series 6. You can see Brigitte's work at brigittegirling.co.uk and @brigittegirling Brigitte talked about: Mandy Leeson of Vanil in Woodbridge @vanil_ltd https://www.vanil.co.uk/ Kay Prestney Kinship Creative @kinship_creativedc Art For Cure @artforcure https://artforcure.org.uk/ Wyken @wykenvineyards https://www.wykenvineyards.co.uk/ An Art to It : the home of inspiring stories of how women artists and makers turned their creative passion into their business. Hosted by gallery owner and mentor to creatives, Elaine Dye. Follow An Art to It for artist conversations, creative entrepreneurs, creative women and interviews with women artists and makers.

Having her eyes fixed as firmly on her business goals as on her paint palette, has been the bedrock of Alice Sheridan's creative success. In this episode of An Art to It, artist, mentor and co-host of the long running and much-loved Art Juice podcast, Alice Sheridan, shares her journey. Alice talks about her move from a career in graphic design into painting, how she began taking her art seriously as a business, and why structure, support and self-awareness have all played such an important part in her creative career. We discuss the realities of building an art practice alongside family life, the role of ADHD in how Alice works, and why understanding your own energy, habits and decision-making is so important when you're running a creative business. Alice also shares her thoughts on selling directly, working with galleries, art fairs, social media, membership communities, pricing, and why artists don't all need to follow the same route to success. This is a wonderfully honest conversation about commitment, creativity, business, tenacity, and learning to build a creative life that works for you. In this episode, we talk about: Alice's experience of co-hosting Art Juice Moving from graphic design into painting Taking art seriously as a business The importance of structure and support ADHD, organisation and creative working rhythms Open studios, art fairs and direct selling Galleries, endorsement and choosing your own route Building and evolving an artist membership Why creative business is not one-size-fits-all Pricing, confidence and standing by your decisions The long-term nature of a sustainable creative career You can find out more about Alice's work and her membership at https://alicesheridan.com/ and on instagram @alicesheridanstudio

A passion for colour, flowers and making all came together for Katie Robbins as she said goodbye to a career in marketing and welcomed a new creative direction as a ceramicist. In a lively and very open chat Katie - known by many on Instagram with her memorable handle @ceramicmagpie - shares her journey from a career in marketing to becoming a full-time ceramicist, and how creativity was always present in her life - even before she could imagine it becoming her work. She talks about studying French and politics at university, working in marketing, keeping her creative levels topped up with evening classes, and eventually finding her way to clay after having children. Katie reflects on the slow process of building confidence as a self-taught maker, the challenge of calling herself a ceramicist, and how selling her first pieces helped her begin to believe in her work. She also discusses how her marketing background has helped her shape her brand, understand social media, and bring people along on her creative journey. We talk about the realities of running a creative business: learning new skills, managing admin, showing up online, doing both general markets and specialist ceramic shows, developing a product range, and balancing heart-led making with commercial decisions. Katie and I also explore the importance of community, customer experience, and delighting buyers - from sharing the behind-the-scenes process to creating beautiful packaging and memorable moments. A warm and practical conversation about confidence, creativity, flowers, ceramics, and the many skills involved in building a sustainable creative business. You can see Katie's work at https://www.ktrobbinsceramics.com/ and on instagram she is @ceramicmagpie

Ceramicists never really retire, but they are allowed to indulge in a sabbatical. In this episode of An Art to It, I chat to Lucy Burley, whose beautifully distinctive ceramic bottles and vessels have been a much-loved part of my gallery https://thebyregallery.co.uk/ for ten years. In our very lively chat Lucy reflects on her creative path, from a first life in London as a tri-lingual secretary and then working in television production to discovering painting classes, art school, and eventually clay. She talks about developing her now instantly recognisable style, inspired in part by Giorgio Morandi, and explains how she built a ceramic practice rooted in harmony of form, colour and use. We also discuss what it means to sustain a creative business over decades: learning as you go, building gallery relationships before the internet made everything visible, managing health challenges, and knowing when it's time to step back and reassess. Lucy shares why 2026 has become a "mini gap year" or sabbatical for her - certainly not retirement, but a pause to think, travel, learn, and explore new directions in her work. This is a very open and honest conversation about longevity, resilience, creative identity, and the delicate balance between making work and making a living. Oh and, as a memorable postscript, Lucy also shares the extraordinary story of the time she ended up in prison in the Indian Ocean. In this episode: Lucy's route into ceramics via painting and art school Leaving television and finding a more creative path Developing a distinctive style and glaze palette The influence of Giorgio Morandi on her work Building a ceramic career before Instagram and websites Why she chose not to do large craft fairs Teaching ceramics and why she eventually had to stop Living and working with Lyme disease The decision to take a sabbatical from full-time potting What success means at different stages of a creative life The "fine art of balance" in a creative business And the unforgettable story of a spell in jail in the Andaman Islands Lucy talks about some of the fellow creatives and businesses who have supported or inspired her: Charles Gladstone: https://gladstonehellen.co.uk/@hawardenestate and @gladstone_hellen Scilly flowers: https://www.scillyflowers.co.uk/@scillyflowers Fiona Findlay: @findlayfiona Thom Hudson: @thom_hudson Lucy Nicolls: @lucydorothyart Kyra Cane @kyra.cane

Freedom of choice and taking up all opportunities are just two of the topics I chat about with visual artist Laura Menzies in episode 52 of An Art to It. From a multidisciplinary arts degree and early love of dance to developing a distinctive painting practice in Cornwall, Laura shares her creative business journey; and reveals how studying, teaching and later completing an MA in Fine Art helped her refine her artistic voice. We also discuss the reality of building a creative business: learning the business side on the job, approaching and working with galleries, and the inventive collaborations that have helped Laura reach new audiences, including projects with Celtic & Co https://www.celticandco.com/ and Neptune https://www.neptune.com/. Laura speaks openly about growing in confidence, learning to market herself in ways that feel aligned, and the value of staying open, flexible and resilient in a creative career. Topics covered Laura's early creative life and multidisciplinary arts degree Why visual art, rather than performance, became her focus Moving to Cornwall and the draw of the coast and creative community How her painting practice developed during and after her MA at Falmouth Landscape, memory, movement and "visual poetry" in her work Learning the business side of being an artist Building confidence in promoting and talking about her work Collaborating with Celtic & Co on a range of clothes using her painting Using books, branding and beautifully styled imagery as part of her business Growing into a more entrepreneurial mindset Her thoughts on success, freedom and creative choice Advice on resilience, flexibility and running a successful creative business You can see Laura's work at https://www.lauramenzies.co.uk/ and on instagram she is @lauramenziesart

Exhibiting - and wearing - a maker's work for a decade is definitely something worth celebrating. This week I'm chatting with Cornish jeweller Lucy Spink, a Byre Gallery regular for ten years since I first discovered her work thanks to two clients who were wearing her jewellery; surely the best kind of introduction. Since then I've got a considerable collection of her work myself - as have many of the gallery's clients. In our lovely chat we talk about how the jewellery world has shifted over the last decade, the eye-watering rise in metal prices, Lucy's love of unusual stones, and the way photography, texture and storytelling all weave through her practice. Lucy also shares the real behind-the-scenes of creative life: fairs, imposter syndrome, the juggle of life, dogs and studio time… and why residencies can be pure creative gold. We chat about: How I first discovered Lucy's work a customer-styling recommendation! How the jewellery market has changed: trends, saturation, and shifting tastes Why unusual gemstones sparked a new direction Metal prices rising fast - and what makers may do next Lucy's photography background and why it helps her in her practice The quiet power of "back story" in a creative practice (nothing is wasted) The reality of fairs: visibility, energy, and "bearing your soul" The role galleries still play, and how online selling has changed things The art to running a creative business: persistence, hope, and adapting You can see Lucy's work @lucyspinkjewllery and www. lucyspinkjewellery.co.uk

Word play and the serenity of printing are under discussion in this episode of An Art to It, when I'm joined by artist and maker Megan Fatharly. An exciting talent, Meg has won a deserved reputation - and fan base - for her witty and distinctive embossed metal work. In a lively and honest chat we talk about Meg's relationship with place (Scottish beginnings, Cornwall now), her diagnosis of ADHD in her late twenties, and how art-making became both a way to process the world and a "capsule of process" she could return to when things felt too much. Meg shares the behind-the-scenes truth of building a creative business: the push-pull between play and commercial demand, the exhaustion of systems and delegation, the emotional reality of visibility, and why success can feel strangely rigid when your work becomes known for "one thing". We also discuss taking part in the trade show Top Drawer, the difference between that and a market, how audiences connect with the person behind the work, and a line that Meg wrote in her blog about showing her work at Top Drawer that stood out for me: "paying attention to where the work naturally wants to go, rather than where I think it should go to be more easily understood." I asked how that fits in with being an entrepreneur We chat about: The pull of geography and "sense of place" in creative identity ADHD, hyper-fixation, and the relief of processes that slow the mind down Meg's love of printmaking Poetry, collage and using words to anchor ambiguity When your art becomes a business: contracts, VAT, systems and structure The tension between exploring new work and "will it sell?" mentality Visibility and boundaries: when people want to meet the maker You can see Meg's work at https://meganfatharly.com/ and @printcessmeg Meg very much admires: The Fabled Thread Website: https://www.thefabledthread.com Instagram: https://www.instagram.com/thefabledthread Meg worked alongside the Institute of Imagination facilitating workshops. Website: https://www.instituteofimagination.org Instagram: https://www.instagram.com/instituteofimagination Meg took part in Top Drawer with Cornwall Shop Small and Creative Kernow Associates Website: https://www.cornwallshopsmall.co.uk Instagram: https://www.instagram.com/cornwallshopsmall Website: https://associates.creativekernow.org.uk Instagram: https://www.instagram.com/creativekernowassociates John was one of Meg's tutors during foundation and degree, and his open-access print studio remains an invaluable creative space in Cornwall. Website: https://www.johnhowardprintstudios.com Instagram: https://www.instagram.com/johnhowardprint

Celebrating 20 years as a beacon of creative excellence in jewellery, I'm delighted to be joined this week by Vicky Sewart, founder of Victoria Sewart Contemporary Jewellery Gallery in Plymouth, Devon. In a lovely chat with Vicky we talk about what's changed in the jewellery world, and why, with a very clear vision of what she wanted her gallery to be, she "stuck to her guns" through recessions and retail shifts. Vicky also shares how teaching has become a huge part of her creative life, the reality of navigating breast cancer just two years into opening the gallery, and why she's now embracing a fresh "next chapter" with mentoring and renewed energy. What we cover: How the contemporary jewellery landscape has changed over 20 years Why Vicky chose "gallery" over "shop" - and what that means in practice Sticking to a clear vision (even when the market pushes you mainstream) The joy of teaching design-led jewellery Whether you need university to become a jeweller today The role galleries still play in a world of Instagram selling What Vicky wants next: lifestyle business, career business… or something she can eventually sell? You can see the gallery at https://victoriasewart.com/ and on instagram @victoria_sewart_gallery Vicky talked about the work of one of her gallery team, Rachel Darbourne whose work you can see @racheldarbourne, also part of the amazing team at the Gallery is @valmuddymanjewellery @kathleen.ashcroft.jewellery and @donna.burns.jewellery If you enjoy An Art to It podcasts, please, please do follow us on Apple and help more people find us. It's really easy, open the Apple podcast app, go to An Art to It; the top three little dots on the upper right hand corner, touch that and it will offer you 'Go to Show' select that, you're on the home page, and then back to the three dots, select that and tap FOLLOW. Thank you v much!

In this episode of An Art to It, I'm joined by ceramic artist Carolyn Tripp for a very enterianting and thoughtful conversation about finding your voice, building confidence, and taking the long view in a creative career. Carolyn shares her journey from advertising to ceramics, how loss shaped a deeply personal body of work, and why success in the art world often comes slowly - through consistency, clarity, and community rather than quick wins. In this episode we talk about: Finding your true creative voice later in life How personal experience can become universal in your work Why Carolyn describes her work as a "visual diary" of things she notices The value of getting help with words, storytelling, and communication Imposter syndrome - even when showing your work at a prestigious event like Collect How previous careers can quietly support a creative business Selling work through galleries and how collectors engage with ceramics Why evolution in your work needs to be careful and considered What success looks like when you play the long game Carolyn also shared businesses that she loves for their brands and their authenticity: her local bakers @august.bakery_ and skincare specialist @drsambunting You can find Carolyn's work at https://www.carolyntceramics.co.uk/ and on instagram she's @carolyntceramics Carolyn is showing her work with the Cynthia Corbett Gallery https://www.thecynthiacorbettgallery.com/ at the Craft's Council https://www.craftscouncil.org.uk/ international event, Collect at London's Somerset House https://www.somersethouse.org.uk/ from 26th Feb If you enjoy An Art to It podcasts, please, please do follow us on Apple and help more people find us. It's really easy, open the Apple podcast app, go to An Art to It; the top three little dots on the upper right hand corner, touch that and it will offer you 'Go to Show' select that, your on the home page, and then back to the three dots, select that and tap FOLLOW. Thank you v much!

In this episode, I'm joined by ceramic artist Sonya Wilkins, whose vessels are inspired by the natural world - particularly trees, woodland textures, and the quiet power of time spent outdoors. Sonya shares how creativity has been woven through her life since childhood, from early painting lessons with her father to discovering clay at school, and why ceramics became both a practice and a refuge. Sonya also talks candidly about her "two pulls": a creative identity alongside an entrepreneurial streak, and how her earlier career in people development eventually found its way back into her work. A turning-point moment brought her full circle to teaching ceramics, and reignited her own studio practice. We chat about the tension many artists face between commercial demand and soul-led making, how Sonya uses variety (and a range of price points) to support both creativity and sustainability, and why she sees Instagram as a visual portfolio rather than a creative prison. We also touch on other subjects close to Sonya's heart: Reiki, wellbeing, and Ikigai, and how she believes that all of these frameworks can help artists build a business that doesn't flatten their joy. We chat about: How Sonya's father taught her observation - and why that shaped everything Fossil hunting, earth materials, and the "magic" of what's hidden inside rock Why clay became a companion, and why Sonya always needs to go 3D A "pre-art" career, and the confidence rebuild that brought her back to making The commercial temptation: growth vs. conveyor-belt creativity Trees as muse, symbol, and subject Her MA at Bath Spa University https://www.bathspa.ac.uk/ Client stories, significant trees, and creating vessels that hold memory You can see Sonya's work at https://ceramicsinspiredbynature.com/ and on instagram @sonyawilkinsceramics

2026 - and series five - kicks off with An Art to It's first ever transatlantic episode: this week I'm joined by gallerist Liz Lidgett of Liz Lidgett Gallery + Design in Des Moines, Iowa. https://www.lizlidgett.com/ Liz shares how growing up with a free local museum - and a grandmother who bought her art lessons every Christmas - shaped her belief that art should be for everyone. After studying art history and working as an in-house curator for a major corporate collection, she left the corporate world after exactly one year to become a freelance art advisor before opening her own gallery in 2019… just months before the pandemic. In our lively chat we talk about how being based in the midwest - rather than LA or New York City - gave Liz the space to experiment with selling art, and how Instagram and lockdown turned a her local gallery into a global business. and why Liz treats her gallery as her biggest artwork – built on joy, ethics, and a strict "no jerks" rule. Inspired by her belief that art really IS for everyone, 2026 sees the launch of Liz's book, Art for Everyone where she demystifies buying, hanging and living with art for people who "love art but don't know where to start." It can be pre-ordered now on Amazon. In this episode, we chat about: Why being in the "overlooked" Midwest gave Liz freedom to play, make mistakes and experiment Moving from art history and corporate curation into art advising - and what she learned from seeing behind the scenes of galleries. How her Midwest gallery now ships to all 50 US states and 11+ countries, and why location matters less when your voice and eye are strong The values at the heart of her business: accessibility, kindness, paying artists on time, "no jerks", and approachable (never snooty) language Building a community for artists: annual surveys, honest questions, and a legendary 5-year party that brought 35–40 artists together in person The emotional and as Liz says, "slightly woo-woo" side of gallery work: believing that each artwork has a person it's "meant" for – and her job is to connect them What galleries can still offer artists in an age of direct sales and social media Treating the gallery itself as her biggest artwork, and why joy is non-negotiable in how she runs her business. @lizlidgettgallery @lizlidgett @elaine_dye_ @thebyregallery

Ever wanted to eavesdrop of gallery owners in conversation? Now is your chance . In this Christmas Special edition of An Art to It, I'm joined by two fellow gallerists: Sharon Harvey (Sanctuary Gallery, Gloucestershire, and landscape artist) and Sara McKee (Life Full Colour gallery and music venue, North Wales). Together we unwrap what 2025 has really been like for independent galleries: the tough months, the surprising highs, the "Dunkirk Spirit" of a Private View in a rainstorm and flood, and why layering income streams and experiences has become essential. We also answer questions posed by artists and makers on: How galleries choose new artists Whether being a "Northern" artist limits your gallery chances Following up when a gallery goes quiet The reality of pricing for galleries vs. art fairs Whether galleries worry about "missing the next Van Gogh"… It's a cosy, honest, very real conversation about art, money, risk, resilience - and why your relationship with a gallery matters as much as your work. You can visit each of our galleries here: https://thebyregallery.co.uk/ https://www.thesanctuarygallery.com/ https://www.lifefullcolour.com/ And find out more about me https://elainedye.com/ An Art to It will be back in mid January 2026

In this week's episode, I chat to visual artist Gabriella Buckingham, whose creative path has taken her from illustration, to product design, to online teaching, and finally to the richly expressive painting practice she runs today. Gabriella reflects on her childhood desire to be an artist and how finally reaching her destination "was just what I wanted. So I'm very grateful." And how her time spent in the business side of a greetings card business left her with invaluable knowledge of trends, sales analysis and creative stamina which she could ultimately apply to her own creative business. "I really feel that to run art as a business, you've got to be an optimist. You've got to be able to pick yourself up when you fail." We discuss: • Our shared Lithuanian heritage - and the mystery at the centre of Gabriella's family history • Growing up obsessed with the paintings in her family home - as well as colour and ballet Why she realised graphic design wasn't for her as she cared far more about the painting than the type. The commercial years that gave her strong business foundations Life as a kitchen-table business owner on Not On The High Street, https://www.notonthehighstreet.com/ and the moment she realised success was costing her more than it gave back Creating and teaching her own online painting course, and why seven-month "live experiences" are as intense as they sound Entering work for the Royal Academy Summer Exhibition - and the electric moment she learned she'd been selected Brand inspiration, colour psychology, and why she thinks she's a "Spring business with an Autumn edge" inspired by Fiona Humberstone @thebrand_stylist https://www.thebrand-stylist.com/ Brands she loves: Boden https://www.boden.com/, Toast https://www.toa.st/, and Kemi Telford https://kemitelford.com/ Success, according to Gabriella: "the life I have now… just with a little more space, more painting, and more galleries." You can enjoy Gabriella's work at - https://www.gabriellabuckingham.com/ and on instagram @gabriellabuckingham

In this final episode of my mini-series An Art to It: Unframed, we're talking about the quiet power of presentation - and why giving your digital presence a bit of a make-over can make such a difference to how your work is seen, understood, and valued. As a gallery owner I get a lot of submissions from artists and makers asking me to consider their work, and naturally I look at their Instagram accounts and websites. Some times I'm excited by what I discover and others… well, let's just I'm left a bit confused as to what their practice actually is. So this episode explores how your online world: your Instagram grid and your website, act as your shop window. And just like any good window display, it needs a little thought, clarity, and styling to really invite people in. In this episode we cover: Why artists often resist "styling" - and why it matters more than we admit What major retailers can teach us about presentation How your Instagram grid works like a mini exhibition Simple user-friendly and effective upgrades: profile photo, bio, pinned posts, highlights The "mini shop window" effect and why clarity beats clutter How to curate your website so visitors instantly understand your work Seasonal styling and how small changes make your online presence feel fresh and current This isn't about perfection, aesthetics for aesthetics' sake, or style over substance. It's about helping your beautiful work shine in the way it deserves to. If you've enjoyed this mini-series, I'd love to hear from you — and if you have topics you'd like me to explore in possible future Unframed episodes, just drop me a note. And you can… • Join my monthly Creative Brief newsletter: elainedye.com • Listen to the full An Art to It interview series • Follow along on Instagram for more tips for artists & makers @elaine_dye_ and @thebyregallery.co.uk VA7X8M4HOWks5NMe36pA

In this episode of An Art to It, I'm joined by applied artist Amy Stringer, who has just celebrated ten years of running her creative business. Amy's practice moves between jewellery and ceramics – think structural, architectural, process-led work that blurs the boundaries between wearable pieces and sculptural objects. Starting with body adornment and bold cement forms, she's now known for both her chain-led silver jewellery and her carved Kurinuki vessels, where jewellery sometimes lives inside the ceramic object. Together, Elaine and Amy talk about what has changed over the last decade for makers, and what it really takes to sustain a creative career over the long term. They discuss: How the landscape for makers has shifted pre- and post-Covid, from material costs and gallery closures to the boom in workshops Why Amy's teaching practice has become a vital pillar in her business, and what she loves about passing on traditional skills Her transition from "fashion-minded" body adornment to process-led jewellery and ceramics, and the tension she's felt around the word "artist" Working with Kurinuki - an ancient Japanese technique of carving clay- and why her ceramic pieces can take months before they even reach the kiln Pricing, value and how ceramic audiences respond to labour-intensive work The differences between jewellery shows and ceramics shows, and why ceramics seems to invite more play The realities of self-employment as a maker: admin, tax, tools, rejection and the business skills that are rarely taught at art school How Amy approaches teaching second-career makers who are thinking about going professional The role galleries have played in her journey, and why having the confidence to approach them early on made such a difference What success looks like for her next ten years - from multidisciplinary exhibitions to sustaining a comfortable, creatively fulfilling life And, as always, I ask Amy the podcast's central question: Is there an art to running a successful creative business? Amy's answer is honest, encouraging and very recognisable to anyone trying to make their creative work pay the bills: it takes a particular personality, a lot of internal drive, and a willingness to keep going through self-doubt and imposter syndrome. You can see Amy's work @amystringerdesign and at https://www.amystringer.co.uk/