My belief is that in most cases the Autism brain knows what it likes, knows what it wants and will focus to that end.  Our honesty is often seen as brutal, but I find it more confusing that anyone would lie – especially to themselves.

When I was younger, art was all I wanted to do.  Both of my older brothers were A* maths students so I naturally compared myself and was always disappointed.  I did well in my GCSE and decided to take A Level maths as this would surely please my parents and gain far more respect as ‘that girl who draws horses all the time’! However, I reached the end of term 1 and realised I just couldn’t deny the strain of having to sit and do something that didn’t involve colour or observation or personal reflection.  I dropped out and instead opted for Art, Photography and Media Studies.  I learned a lesson and never turned my back on art again.

It is true (in my case anyway) that I struggle with abstraction, surrealism and some forms of impressionism. I cannot paint something and then try to convince others that there is meaning or emotion behind it. But my own artwork is definitely not the photorealism that many people associate with Autism.  I cannot draw a London skyline from memory so please don’t ask!

My strength comes from hyper-focus.

[ I don’t like the term ‘hyper-fixation’ as this conjures images of a dog playing fetch with a tennis ball all day.]

I knew that my future would be creative so I focussed on it entirely.  I read, I visit galleries and pop up exhibitions, I speak with fellow artists and I am constantly learning and evolving.  I adore the links between art, science and psychology as these 3 subjects are what separate us as a species from the others on this planet.

When I paint, I do it 80% from memory & imagination and the other 20% from reference.  I combine elements that I am familiar with and do my best to sit comfortably within ‘contemporary expressionism’ for this very reason.   I do not want photorealism because it simply doesn’t appeal to me. I want to grab the image in my head and project it for everyone to see!  And no, I’m not gifted.  I have spent many, many years evolving and refining my work until now I can make it match that image in my head.  A stubbornness and refusal to fail have driven me forward.  Like Einstein said, he wasn’t clever but simply had an enquiring mind and refused to stop asking questions.

I constantly get refused from high-street galleries because my work doesn’t have the aesthetic they’re looking for.  I do wonder if they would sell my work if I bought a 1m2 canvass and randomly threw some paint & gold leaf at it, or painted David Beckham like a Warhol.  But I cannot and WILL NOT follow the money or the crowd.  I am authentically me.  And I believe this is the gift that us Autistics have which sets us apart. We don’t want to compromise who we are to please others.  Not selfish, just pursuing our own narrative.  Read any of Temple Grandin’s books and you’ll see that is a truth which is something all of us should be embracing.

So yes, many Autistic people can be creative, but we cannot be anything other than authentic.

Unfortunately, we lose this skill as we get older. I don’t know why, but in our society we put far more value in to study, reading, lectures, webinars etc than we do in actually just doing something. Why is that?

I keep reading that the adults who make it in the creative industries are the ones who remember how to explore and experiment. I suppose there has to be truth in that… you can’t have a truly original idea if you’re constantly feeding off other sources.

Equally, there is huge value in making mistakes. Failure is a separate thing. In my eyes, you only fail when you give up. Every mistake is a learning curve. Sometimes something incredible happens that you hadn’t predicted and you realise you have discovered something new! Sometimes you simply learn how NOT to do something. Both have enormous value.

Having my children off school has been a wonderful reminder to me of the value of playing. As adults, we need to spend more time doing this ourselves and not being afraid.

Watching my children dying fabric, spraying it with bleach, stitching in to it and making something they’re proud of, has been a wonderful experience. I love that they have very few boundaries and even those are governed largely by safety and access to resources. Why not try applying bleach with a fork? Why not hang the fabric so everything makes a drip pattern? Why not hang it to dry on the climbing frame so that the ink pools and makes a pattern? Did I think of any of these things…? Nope. They did.

The mind of a child is much less afraid of something being ‘wrong’. It’s true as I see it all the time. The education system trains us to get that green tick next to our work, and even in art lessons that means working to a list of success criteria. If any student tries to deviate, it’s hard to judge and mark the criteria you have set. But it’s that child that goes on their own path that should actually be celebrated. Because… well, who gets anywhere in life by being like everyone else?

I created these two little prints by playing about with media and resources. They’re simple but I adore them. And I completely enjoyed the process because I had no idea what the end product would be. Kinda like going for a walk and happening across a nice pub!

In short, we need to make more risks. Be more free in our thinking and be more childlike in our curiosity.

In fact, if I take a look back over all my recent artworks they are all reflective of resilience. And I think that’s why I adore house plants so much. As they are alive but not sentient, they rely on us to care for them. But even through that, they have a life of their own; they grow, they flower, they thrive and yes – sometimes they struggle and they need more or less and sometimes they just give up and wither away.

This vulnerability speaks to me as a person who has had the same struggles in life. I hate relying on other people but we HAVE to. From health care, to our utilities, we need other people to keep us healthy and keep us moving.

My plants are a reminder of the inner strength that we all have. And my prints are my inner sanctum coming out in a colourful display of defiance against anything which tries to defeat me.

These 3 mini prints make an ideal addition to my series. 3 air plants, the strength they require to survive is incredible, and yet they are actually extremely fragile. They’re each pictured inside a hanging glass globe, with a small aperture to the front. A suit of armour maybe, with the ability to allow love and light in.

These are my 3 children.

So you want a printmaking studio, but don’t have the £thousands it will cost to set up? Please don’t worry, it doesn’t have to be expensive! My studio has taken a couple of years to get to where it is now, but I have some super useful tips that may help you!

When I first started printmaking, I used the kitchen table. This is absolutely fine if you’re happy to do LOTS of cleaning and sanitising. All you will need is your tools (see previous Blog Post on Learning to Linocut) and paper. The bugbear with this one is where to put your prints to dry – but I have an answer!

Grab yourself a clothes airer and some pegs! You can fold it up when it’s not in use and it’s super easy to store. Just be careful to ensure your pegs don’t damage your paper.

If you have the space for a studio, where do you start with furnishing it on a budget?

The most important purchase you’ll make is your work surface. Without it, you have no way of creating. You need a surface that you can easily wipe clean – something wooden with crevices is no good as ink will sit in them and then bite you when you least expect it. I bought 2 trestle stands from IKEA and a cheap, white table top to put my press on.

Search marketplace on Facebook too as you’ll see loads of desks etc for sale. Don’t buy new if you don’t have to. There’s no point, even if you can afford it. I only bought one as there was nothing available after weeks of searching – just my luck!

I also made a clean desk by buying a tabletop from the discount area of IKEA and placing it on two cube units which we already had. These then double up as storage. Again these are available from loads of shops and you can find them readily on Marketplace or eBay.

It’s important to have 2 desks if you can – a messy one and a clean one, otherwise you’ll find yourself cleaning constantly. Which is distracting.

So what’s next? A seat. I’ll be honest, I don’t spend an awful lot of time sitting down. But it’s important for when you’re drawing, researching or having a cup of tea! A stool always seems like a good idea, but I’d suggest one that adjusts in height so you avoid hunching over. I got a great little one from Marketplace for a few £ and local collection.

As you’ve probably read, I don’t have a full sized press as I couldn’t afford one. For a studio on a budget, try a Cold Press Laminator! You can get them in a range of sizes to suit your space, but at £100 for a huge 750mm unity you really can’t argue.

Let me make this clear: YOU DON’T NEED A SINK. This is one of the things that puts people off having a home studio. Please don’t panic about getting a plumber in yet. If you’re using oil based inks, use a spray bottle of vegetable oil, some paper towels and an old bath towel. If you’re using water based inks, the same applies but use a spray bottle of water.

Tool storage? Why pay out for a purpose made block when you can find a child’s toy on marketplace and use that instead!

I use plant pots from charity shops to store my pens and pencils and I have my paper in an old chest of drawers!

There really is no reason to spend a fortune. That way you have more money for ink, paper and linoleum!

So please don’t be scared of making yourself a dedicated space. It gives you so much reward.

I spent years hand pressing with a spoon. There is huge satisfaction to be had by the beauty of putting all the pressure through your body, exhausting yourself physically and building the anticipation of the reveal. Because anyone who hand prints will know that every single outcome is different. When you lift a corner of the paper and get that first glimpse, you can drop and continue for a refined finish, or continue to peel if you’re happy.

It’s a game of roulette as the pressure will never, ever be consistent. But that’s all part of the fun right? Until you’re doing A3 or larger print runs. Then the novelty becomes laborious.

Unfortunately I am unable to justify the £3k price tag on a dedicated printing press. Don’t misunderstand me – they’re absolutely worth their money, but with a home and 3 children, I always see other areas where that money could be better spent.

So, one day I was trawling through one of my social media groups for Linocut printmakers. It was mentioned that it’s possible to print on craft presses (such as the Big Shot) which were primarily for die cutting. But these are small so not what I needed. When I looked further in to this I found that a small number were using what was called a Cold Press Laminator. A very simple device with 2 rollers and a short bed either side.

At the time, these were extremely cheap for what they were. As I had been looking at £3k presses, £80 for a 75mm Cold Press Laminator was a steal! I bought mine from Sinzworld (https://signzworld.co.uk/), but I believe that since word has got out about this new use for their product, the price has gone up. It’s still incredibly affordable though.

I would advise you to buy the largest size you can possibly fit in to your working area. The two short beds either side fold up, meaning it’s just the width that you have to contend with when storing. I’m fortunate to have a dedicated studio so mine sits out on the desk permanently.

I always get questioned on the clearance between the rollers, as it’s obviously not as flexible as a dedicated press. I have found it to be considerable enough that I can fit through all the components needed for a linoleum sandwich and have wriggle room. I personally use either:

3mm mdf / linoleum / paper / ikea blanket

Or:

Cutting mat / linoleum / paper / silicone baking mat

I switch between these depending on the size of print, the type of print and the texture of the surface. The best thing I could advise for you is to play about.

Another question I am often asked, is why people’s prints slip and smudge. There is a very simple answer to this – you are using too much pressure. I cannot impress upon you enough, that the key to a successful print on a cold press laminator is getting the sandwich right and then using the smallest amount of pressure possible to render your image. When you use too much, it will slip. If you are finding that your image is patchy (like in the image above) troubleshoot your ink and sandwich first. Are you working your ink enough prior to application? Are you adding thin layers to your linoleum and building it up? What is the texture of your paper? Usually the answer is far more simple than adjusting the pressure.

The final question I am asked A LOT is if you can use a CPL as an etching press. Due to the amount of pressure required, my gut instinct would advise against it. A cold press laminator isn’t designed for high pressure and you risk damaging the thread. I have never tried it myself and probably won’t.

Before you buy, do your research.

There is a company out there which is buying cold press laminators, changing the wheel and selling them as printing presses with a huge price tag. You really don’t need to pay this amount or be swayed by the wording. You’re getting the same product.

I am a huge champion of the Cold Press Laminator as an affordable printmaking press. The results are consistent and if you take care of it, you’ll have a professional standard tool for many, many years.

If you have a question that I haven’t answered here, please pop me a message and I’ll endeavour to answer!

OR… is it that everyone struggles, but artists have a creative outlet for their depression, which is what makes it more visible to others?

If it’s the latter, does the creativity assist with demolishing low moods, or does it encourage it? Because let’s be honest, most of the best love songs, paintings, photographs, stories etc were born from severe anguish. Oooh it’s an interesting one to pick apart, that’s for sure.

I don’t have the time or the resources to gather research of my own, but there is enough evidence already out there to support a theory that neurodiversity, depression and creativity are knitted together. That doesn’t mean that all Autistic people can paint. Or that all BiPolar people can write a love song. But it means that their unique perspective on the world can inspire something amazing. We then have to figure out how to translate that in to a narrative that’s tangible for others. Some have the environmental factors to enable this and some don’t.

I think you could also throw in to the mix, that a neurodivergent mind will process the world differently, and this in itself can produce artwork which is unique and of enormous value. This is where my curiosity really kicks in.

Art has been used for many years, as a form of therapy for anyone who is struggling with anger, anxiety or general mental health. There are many reasons why this is successful.

Firstly, indulging a person’s basic senses can give a positive focus and help to settle your brain chemistry. Whether it’s working with the tactile qualities of clay, examining a subject with your eyes or just adding colour to a page, it takes a gentle thought process with sensory rewards.

Secondly, once you are calm, it’s possible to communicate your feelings through your chosen medium. Sometimes, especially with Autism, there can be gaps in one’s ability to communicate verbally – particularly when your fight or flight mode is activated. But when presented with something abstract, such as colour, line and shape, it is possible to get those emotions out.

Oddly, if you ask someone to ‘draw how they feel’ they probably won’t be able to. Trying to put your own emotions in to a visual representation is near impossible. However, if you merely set out to create something, most of us will automatically pour our emotion in to it anyway… food for thought. Have you ever looked back on something and realised it was skewed by your mindset at the time? Well there you go.

I’m setting out to produce a body of work which allows my current mindset to access the freedom of my creativity. I have no idea where to start or where it will take me, but that’s the whole point isn’t it?! The journey rather than the destination.

We have so much information available to us about the changes to our environments, ecosystems and biodiversity, but art is also a window to tell us more about it. Curious? Then read on…

Art itself has evolved over the history of human existence and can tells us everything we need to know – if we look closely enough. Diane Burko made a name for herself in the art world, by exploring her love of landscapes and the world around her. As an activist, she saw a way to communicate with the world about the devastating affects of climate change, through her work. Changing landscapes were enough to draw attention to the planet’s struggles against human impact.

In fact, if you take a look back through historical landscapes from across the globe, you can see differences in the climate.

It has been suggested that even Turner has given an insight of the air quality back in the 19th century. In this painting (Keelman Heaving In Coals By Night) you can see the river Tyne and the ships that transported the coal from the Newcastle mines to various locations around the country. We all know the damaging affects that coal fires had on our atmosphere and can see the ships and the smog captured beautifully.

This painting by Edwin Church was created in 1861. It captures the Iceburgs in the Arctic, with a message of how powerful they are against man’s best efforts. The broken mast in the foreground is a hint to the demise of a ship, a then formidable man made structure. We are now far more aware of the fragility of these landscapes, with modern imagery now depicting the melting icecaps, receding habitats and rising waters due to temperatures climbing.

Photography has also been another window to the past, quietly recording the catastrophic changes that we hadn’t even noticed at the time they were captured. This is a classic example: the vintage adverts that we now love and hold in high artistic esteem are now a terrifying reminder of another way it all went very wrong. I am a child of the 80s. We were told that cutting down trees was wrong and plastic was the way forward! It took 30 years for us to realise the reality of single use plastics and understand that cutting down trees is actually okay – if its controlled, woodland is replenished, products are recycled & biodegradable and none of this destroying habitats (especially those of animals whose numbers are already under threat).

And that brings me nicely on the use of resources. Art itself has evolved, in an attempt to eliminate use of harsh chemicals, single use packaging and contribution to landfill. The use of natural pigments and preservatives have taken over. Digital photography means no more printing rolls and rolls of film from single use casing. Paints are offered in recyclable metal tubes and tubs. My personal bugbear is the use of synthetic resins, as they’re made from fossil sources and there is no way this will ever break down. Unfortunately, selling sites are filled with cheap resin products right now and the trend for home crafting isn’t slowing despite platforms like TikTok taking a stand against it.

They’re not the only media source which is using visuals in a more responsible way…

The Guardian has chosen to use re-educate the way photographers record the impact of our current situation. We are used to seeing photos of polar bears and orangutans being used alongside media reports on climate change. Humans are visual creatures and most of us need to establish credible links between our own lives and what we are looking at in order to find empathy. The Guardian is working to ensure pictures of real people being affected by real issues are providing artwork to their words, rather than animals and landscapes. This is something that is spilling out in other art forms, with a sudden urgency to become accountable. Putting a face to climate change makes it personal.

This huge mural of David Attenborough was painted on the side of a building in Essex by Scott Irving, as part of a display called ‘Making Waves’. Attenborough’s instantly recognisable face and public image is irrevocably linked with saving the planet and the natural world, so it’s application in any form will immediately draw related meaning.

I realise that this post merely touches the tip of the iceberg (pun not intended) with art and climate change, but there are so many articles and papers out there which can provide you with further information. It’s an extremely powerful discussion as we are living this NOW, it is happening NOW. The artwork being created today will be the historical footprints of tomorrow.

Profound eh?

Are you a creative who cannot think about anything else? Do you yearn for a full time job that allows you to enjoy yourself and love every day? You need to find a job that gives you that satisfaction that you need, without losing your integrity. I understand. My life has been a search for a job that suits my needs; but as life is constantly evolving, we must too.

Whatever stage in your career you are at, here are 10 visual arts jobs which may just be the income and output that you need:

1. Illustration
   By definition, this means providing visual narratives to run alongside a written or verbal narrative. It has huge scope for whatever your drawing skills are. Illustration can include children’s book images, broadsheet satire, product packaging & labels, signage… it’s everywhere.
   
   Technology has made illustration far more accessible without an associated degree, but the benefits of gaining one in a world where everyone wants to give it a go, will give you extra weight. Your earnings can vary enormously, but it is generally understood that you take in to consideration your experience, your position in the marketplace & demand for your work, the organisation who wants your work, whether they want to own or licence the images and how widespread your images will be used.
   
   Advantages: You can manage your workload, negotiate your value and take your work with you.
   Disadvantages: You are in a saturated workplace with employers at the advantage.
   Advice: Make yourself and your work unique. Offer something new.
   
2. Apparel
   It’s easy to create your own designs and get a company to print them on to clothing these days. You can have images on t-shirts, hats, jackets etc, or even go a step further and design a repeat pattern to be applied to rolls of fabric. As with Illustration, this has its good and bad points. If you have a visual arts degree in fashion or textiles, you will be better equipped to understand the processes behind the end product, such as screen printing vs heat press. This is something you can learn though, so don’t be put off.
   
   If it’s something you are interested in, its a good idea to look at what is already out there, look at what is trending and follow fashion outlets that appeal to your target customer. Whether you want to create whole fabric patterns, or t-shirt and hoodie prints, explore your costs. Print on demand gives very little profit to the designer, where taking control of your own printmaking means you can buy wholesale raw materials and push your income further.
   
   Advantages: Your products advertise themselves and can flourish quickly.
   Disadvantages: Start up is expensive.
   Advice: Find ways to be sustainable and eco friendly. Fast Fashion is a thing of the past.
   
3. Teacher
   This will require further education. In the UK you can do a specific teaching degree, or a specialised subject followed by a recognised teaching course, such as the PGCE.
   
   Teaching is an extremely rewarding job where you are literally passing your knowledge and skill to the next generation. However, be warned that the actual artwork that you will engage in is minimal. Your role as a teacher is to model and then measure progress. The amount of data and paperwork you will need to complete, will outweigh any creativity you think the job involves. This is not a job for a free spirited creative as you will spend most of your time behind a laptop rather than an easel.
   
   Your earning potential is stable. Teachers have 2 pay scales – the Main Pay Scale and the Upper Pay Scale. You access the second by going through what is called ‘threshold’, which is a process of proving to the school that you are delivering outstanding lessons, achieving high progress from students and offering yourself to the wider school community via clubs and initiatives. You can also increase earnings though leadership roles that can bolt on to your teaching, such as Head of Department or Head of Year. But again, you’re stepping further away from your creativity and getting more data and report writing involved.
   
   Advantages: A stable income with rare job losses.
   Disadvantages: Creatively prohibitive.
   Advice: Find a school that genuinely champions the arts.
   
4. Content Creator
   This is a relatively new job which suits millennials and post covid workers to the ground. You can work from home and it’s generally as flexible as you like. A content creator provides written and visual information of use across social media platforms. Usually working freelance, you would have a contract with one or more organisations which have an agreement to produce a number of advertising or blogging posts per day/week/month on their behalf.
   
   This role is exciting and enjoyable, but does involve research, outstanding literacy and a working knowledge of ICT and marketing. A Graphic Design Degree is often the best route in, but equally an English or Journalism qualification is just as appealing to employers.
   
   Your earnings are weighted according to your experience, credentials and demand. You will need to prove yourself as successful in raising profiles through carefully targeted visual content.
   
   Advantages: Take your job with you anywhere and enjoy the flexible working hours.
   Disadvantages: Lots of screen time and an extremely competitive industry.
   Advice: Don’t undervalue your time. Your input, if successful, can make or break a company.
   
   
5. Freelance Art/Crafter
   Simply, take whatever you love to make and sell it! Its not as easy as you think but can be so rewarding. Sites like Etsy, Folksy and Not On The Highstreet are bursting with creatives who have shunned the 9-5 in favour of working for themselves. From hand made furniture to personalised keyrings, its all there.
   
   There is a lot to consider if you decide to set up a creative business. Firstly, you must not make or sell anything that is a potential copyright infringement – no Disney, Squid Games, MacDonalds etc. Its surprising how tough these companies are on small businesses. They employ people simply to browse and seek out infringements and then issue cease and desist notices.
   
   depending on what you are selling you may need licensing and permission from the council. Forexample, food requires Hygiene certificates, anything for children needs to be CE tested. You will also need public liability insurance which is surprisingly cheap year on year. It sounds overwhelming, but once its all in place its just ticking along and you can get on with creating.
   
   Also, you need to make sure you are making a profit. This sounds odd, but you can become so immersed in what you are doing that you keep putting money in and not seeing it come back. This includes Tax – at the moment you don’t have to pay any tax on the first £1000 you earn in 12 months, but after that you need to start doing self assessment returns. Please check it all though and don’t rely on me! You can make a respectable income from this; it all relies on how much time and effort you put in to it.
   
   Advantages: Independence, control and creative freedom!
   Disadvantages: So many laws, regulations and taxes to learn about.
   Advice: Research, join creative groups and talk to other people. They’ll give you their knowledge and experience for free.

I hope this has been of use to you! I know that it’s hard when you’re a creative. You can’t convince yourself to do something repetitive and boring but those are the jobs that pay and provide security. Keep looking though, don’t leave education in despair, there is so much out there now!

• Is my art any good? Well, that’s a really loaded question. And where do you get the answer from? Your friends and family will tell you that you have a clear talent, because they want to support you and build you up. But this doesn’t help does it? It also doesn’t help that art is subjective. What one person likes, another doesn’t.

What I will say though, is that you need to master your technique, subject knowledge and context. For example, if you’re going for photorealism, it needs to be absolutely perfect. Your understanding of colour theory, paints, surfaces etc has to be advanced. If you are creating an abstract, you need to make sure you still have some kind of relatable narrative through your use of resources. If you’re representing animals, it helps to have actually studied the animal anatomically, not just recreating a tiger from a photograph. Learn their behaviours and mannerisms. Henri Rousseau made naivety fashionable, but even he went to Kew Gardens to study the plants!

Regardless of what medium or dimension you’re working with; learn colour theory, practice with a range of tools, resources and techniques. Explore composition, what is successful, what creates tension or balance. Make mistakes, develop them, become experienced by doing.

You can’t take shortcuts, it will show in your work. Whatever you do, you need to be the best you can at it. This is what sets apart the amateurs from the professionals.

• What makes your art different? A lot of artists start out by copying. You pick up on an art movement or style you like and you work within that. But the people who are successful are the trailblazers. The ones who come up with new approaches, techniques, subject matter, technology… these are the people who set the pace for the rest of us.

If you want to be recognised and be seen, you have to stand out. You’ll never do that by painting tigers from other people’s photographs. Be topical, be individual, be inventive. Whatever you do, push existing boundaries. What are you passionate about? What lights a fire in your belly?

An excellent example is Turner Prize winner Tracey Emin’s Unmade Bed. “But that’s not art!!!” I hear you shout at your screen. Are you sure? Galleries are full of paintings, photos, prints, collages… even moving images. Emin realised that if a picture representing something can be art, why can’t the subject itself? Why do we have to paint something for it to be appreciated for what it is? Her unmade bed was an extremely graphic and relatable insight to the struggles presented by mental health. Having it installed in front of us rather than presented in two dimensions made it real and therefore made us feel extremely uncomfortable. That response is the debate which reaches higher levels.

I’ll admit, the education system in this country is inherently flawed, as we push young people to churn out the same stuff over and over and over. Class after class of Van Gough landscapes and Hepworth sculptures. I wish we could nurture more independent thinking prior to A Level, but I have never worked in a school where the Head of Department found that acceptable.

• Giving people what they want is difficult. You need to pitch your work to the right galleries.

I was recently rejected from an exhibition which was inviting artists to submit work which reflected their experiences of lockdown. It was entirely my fault that I was rejected and I admit that. I created a series of self portrait Linocuts that detail my personal struggles while in isolation. But I know now that they were rejected because the gallery wasn’t comfortable with selling them.

On closer examination I can see that the gallery in question prefers glass, watercolours and oils; landscapes and still life studies. The kind of gentle beauty that you can hang in any dining room and not worry about the resulting conversation. That’s where small galleries make their money. In short; you need to make sure you’re appealing to their customers.

If you want to exhibit art that is more edgy, you need to look to galleries which reflect that in their ethos. You need curators who aren’t afraid of controversy and discomfort. They’ll represent you with confidence and bring the right customers to you.

Research, get to know other artists in similar fields, join art communities and social media groups. You will gain contacts that can point you where you need to go.

• Oh, and you’re definitely not imagining it, the art world is full of elitism. In some cases you could have perfected your skill, knowledge and subject matter and still not be accepted for exhibiting. Why? Well, art is an investment and as such, buyers want confidence in what they’re getting. They want a name they recognise. They want someone who is established and exclusive. Even if you can paint like DaVinci himself, you probably won’t make it to the walls of the Tate unless you’re married to Mick Jagger. Sad, but true.

You can compensate by going to elite universities, travelling to elite locations and brown nosing the elite decision makers.

But if you prefer your dignity intact, I’d suggest that you keep working bloody hard and point yourself in the right direction for moving forward. Galleries survive on selling wall space and taking a percentage of your sales. They need you to do well so they do want your work. But you have to be in the right place at the right time with the right product. Don’t give up! Your big opportunity may be only days away!