CASE STUDY
Melanie Cormack-Hicks
Iam not sure I remember the exact moment I decided to turn professional. It was a series of events that made me realise that there was a door opening that I needed to consider walking through.
I think the first moment happened in my spare bedroom studio. Stepping back from my easel I looked at a painting that exceeded all my expectations of my ability and thought: ‘Oh ok, this might be getting serious’. This painting told me I might have a shot at my dream.
Q What are the psychological hurdles to making the leap to becoming a full-time artist and how did you overcome them?
A I thought the biggest psychological hurdle would be the fear of judgement. I had spent the three years of my fine art painting degree feeling like I was not good enough. That was why I taught. I felt so strongly that the metric by which we were being judged was unfair; I wanted to show every pupil their creativity was unique and they were all good enough! When I started painting again, I discovered this belief had shifted my mindset about my work too.
All of a sudden approaching a gallery felt like something I had to do. I was lucky because the first gallery I approached offered me a show. After years of dreaming, it felt like a door had opened. There were practical implications of course. I was very happy in my job, I had a good
career and brought in half the household income. After heartfelt discussions with my husband, we both decided the opening of my show should mark the start of my professional career as an artist. It was a big financial risk, so we were surprised at how strongly we both felt that this was an opportunity that shouldn’t be missed.
Q Can you share with us the practical tips that really made a difference in launching yourself as a professional?
A The key is to focus on the bigger picture – being an artist is my business as well as my job. I had to make my business work financially, or I had to find another job. I had to seek out opportunities because they were not going to come and find me. My advice to anyone starting out is to begin with artist-led art fairs. Find out what sells, test the market value of your work, start to build your email list, listen to feedback. Then seek out the right galleries to represent you. Often artists leave this as the last thing on their to-do list, because it fills us with the most fear. Having information on your art fair sales makes you a much more attractive prospect and takes some of the fear away.
Get a business coach. Even when I couldn’t afford a business coach, I still paid for one. She has taught me how to ‘get out of my own way’ early on in our time together. It really helps to have someone see your art as your business. I needed her business expertise when I had none. More importantly, in the early days she also helped me keep my mindset on track.
I have a thirsty brain. I love to learn. Every podcast and book I can get my hands on that I feel is relevant and aligned with my business I listen to and read. I am passionate about my paintings, so I need to give them the best opportunities to find their owners. I use my creative brain in my business. This helps my paintings to be seen by the people whose hearts they can touch; I love helping to bring them together because I know how much joy my paintings give their owners.
Q What importance do you place on connecting with other artists and building a support team around you?
A I have always invested back into my business as soon as cash flow allows. This is really important because it frees my time to explore and produce my paintings. You have to feed your business so it can grow and flourish; in return it will feed you, both financially and creatively.
I love investing in other businesses, because they really invest in me too. Over the last three years I have steadily found wonderful people who I can call on that have the expertise I don’t. The galleries I work with come first, alongside my framer, with whom I work very closely. My website is run by Ecademy, an agency that provides the platform and tech for my online course; I have a graphic designer friend, a wonderful marketing and PR guru – the list goes on. I have recently invested in an accountant (huge relief) and a social media marketing company to deal with the analytics I don’t have time to understand.
I love, love, love Instagram for art connections. Artists and makers are a wonderful bunch. I met a now very close artist friend on Instagram, Maryanne Hawes. We peer mentor each other every month.
Q What are the best and worst parts of being a full-time artist?
A Managing my own time is probably the hardest bit. I am very organised; I diarise my week and schedule my year. However, I have a typical creative butterfly brain and am always trying to do three things at once. I also over commit every day, believing I can get far more done than is physically possible.
No worst bits, just a word of caution: my business has different financials seasons throughout the year. It takes a while for the pattern to emerge, you need to track it.
Best bits: walking out my back door into my garden studio. Painting by the sea is work! I never really feel alone, because I have a business network and an artist network that I can reach out to anytime. My working day is very different to walking through the gates of a secondary school every day. For one it is a lot quieter.
Melanie is represented by Marine House at Beer in Devon: marinehouseatbeer.co.uk ; Paragon Gallery in Cheltenham: paragongallery.co.uk; Creates Gallery in Monmouth: createsgallery.com.
All her work can be viewed and purchased online as well as in the galleries. For more info see: www.melaniecormack-hicks.co.uk
Instagram @melaniecormackhicksart Facebook @MelanieCormackHicksArtist youtube.com/c/MelanieCormack HicksFineArtist
Next month: How to make it work as a professional artist