On balancing art and business: an interview with artist Elise Judd
Artist and businesswoman Elise Judd explains how she transformed her art business from relying on the traditional artist’s path working with galleries, to taking control and selling her work directly, in just six months after completing the The Full Time Artist Formula course. In this interview, Elise shares how she balances the demands of being a full-time artist with the practicalities of running her business. From trying to deter the local snakes from her country studio, to the importance of connecting with her art buyers, Elise gives us a glimpse into her working life and inspiration as an artist.
Elise, could you tell us about your art practice?
First off, how lucky am I that I get to do this every day?
To be able to create something from nothing but my imagination is a great feeling. What I love most is how my work can whisk people away to a place of nostalgia and make them feel a connection with the past. It's a real privilege that I get to do this full-time, especially considering that there was a time when being a woman in this field wasn't always taken seriously.
In my art practice I try to keep a balance between structure and flexibility. It involves a daily routine to stay on track, occasional bouts of procrastination creep in. I make time for making bad art, the art where I get to play and experiment, as this is often when breakthroughs happen for me. My studio is divided into different working areas for drawing, painting and reclaimed ceramics. I can get fixated on a topic and like to work on a theme and push it to its limits.
I'm fortunate to have two creative spaces, one in Melbourne (a large space above my garage) and the other is a beautiful converted cow shed in the country Victoria. Transforming an old cow shed into a creative space was a labour of love. The idea was to breathe new life into this rustic space and create an art studio that's as inspiring as it is sustainable. What makes it truly unique is the recycling and repurposing. We've used discarded windows, doors, and corrugated iron sheets to craft the studio's structure. These reclaimed materials not only add a touch of history (which of course I love) but also create character and allow natural light to flood in. The space is so peaceful and inspiring. A lot of the time I just sit still and daydream. The first time I used it as a proper art studio I had a visitor… a tiger snake. We both gave each other a big shock. Needless to say the studio has been made as snake proof as possible.
The first time I used it as a proper art studio I had a visitor… a tiger snake. We both gave each other a big shock.
[Note to the reader, tiger snakes are rather venomous. You can find out more about them here.]
Could you tell us about your career path as an artist?
I received formal art training at The University of Melbourne and initially trained to be a secondary school art teacher. While I still teach adults once a week and occasionally run workshops, I made the decision to prioritize my career as a professional artist over teaching. I've followed the traditional artist's path and had gallery representation in the past.
Nowadays, I'm also focused on selling my work directly. This involves renting physical gallery spaces and establishing an online presence through my website and social media. Building a mailing list and pinpointing my ideal buyers have become important aspects of my strategy. I actually learned these valuable skills through a course with Sarah.
I enrolled in The Full Time Artist Formula course because I sensed that my previous approach wasn't yielding the desired results, and I wanted to gain a deeper understanding of the business aspect of my art practice. The most invaluable aspect of the course, for me, was discovering how to create and manage a mailing list. It may seem obvious in hindsight, but I can't believe I hadn't utilised one before. By not having a mailing list, I had unwittingly relinquished control over my audience and customers to the galleries I worked with, missing out on the opportunity to nurture those relationships. Additionally, the course helped me recognise the power of technology as a valuable tool. Prior to taking it, I wouldn't have fully grasped the potential of using tools like ChatGPT or Lens.
What has changed in your art practice since completing “The Full Time Artist Formula”?
Since taking the course, my perspective has shifted. I used to prioritise honing my artistic skills, often ignoring the marketing and sales aspects of my work. I had the naive belief that if my work was good people would find it. Now, I've come to realise the importance of balancing my time between these two aspects, much like the various elements in my art practice. Just as not every artistic work gets the desired result, I've learned that the same holds true for sharing my work and using social media. It takes time to discover what truly connects with my audience.
Building a mailing list and pinpointing my ideal buyers have become important aspects of my strategy.
I've become more proactive in selling my work independently and engaging with my audience directly. I've also gained the skill of articulating the stories behind my art, which has significantly enhanced my ability to connect with people.
You recently held your first solo show in Melbourne. Congratulations! Could you share more about your experience?
Artworks from Elise Judd’s solo show in Melbourne.
Originally, I had prepared for 'The Other Art Fair,' but its cancellation left me with a collection of artwork and no venue to showcase them. Fortunately, I was teaching at the Malvern Artist Society, which had an available gallery space. I decided to rent the space and hold my first solo exhibition.
Handling all aspects of the exhibition, including marketing, installation, curation, catering, sales, and gallery management, was a significant undertaking. Unlike traditional exhibitions, I didn't have the support of other artists or a gallery to assist with these responsibilities, but I also didn't have to share commissions. This experience pushed me beyond my comfort zone, as I found myself taking on new and unfamiliar tasks.
The exhibition turned out to be a success, with half of the collection selling. More importantly, it allowed me to apply the skills I had acquired from The Full Time Artist Formula course. I became more confident in discussing my work and setting prices. I also actively encouraged visitors to join my mailing list and noted their interests.
One visitor missed out on purchasing one of my vase/sculptures during the opening night. I invited her to join my mailing list and assured her that she'd have first choice when I created my next batch. After the exhibition, she not only purchased two pieces but also invited me to deliver them to her home, leading to a meaningful conversation.
My solo exhibition provided me with valuable insights into marketing and engaging with potential buyers. It was a challenging experience that underscored the importance of taking the lead in shaping my own art career and direction, rather than relying on others to do so.
How do you find balancing your art business and creative practice now?
In the past year, I've had some eye-opening moments, one of them being that having a big social media following doesn't guarantee substantial sales. What's crystal clear to me now is that nobody can communicate the value of my art better than I can.
I've also taken a big step forward by appearing in front of the camera and talking about not just my artwork but also include challenges I've faced. While it was a bit nerve-wracking at first (putting my face out there), I've learned that social media is a "social" platform for a reason.
I am still often surprised about the posts on social media that people enjoy the most. I created a post about how I make my own charcoal. This was because I was running a charcoal workshop and I thought it would be fun to make my own with Australian woods (as most books tell you to use 'willow' and there isn't much of that here). When I taught the class I was amazed at how interested they were in this process.
One of my most popular Instagram posts has been about my discovery of an artist in the family, I had always believed that I was the only one ever interested in painting until my step-mother showed me a painting that was nearly 100 years old and had been forgotten about at the back of a garden shed.
Finding the right balance between my art business and practice can indeed be quite a challenge. It's crucial for me to set aside time for the creative process, but I've also come to realise the significance of allocating time to marketing and establishing connections with potential buyers. Achieving this is ongoing, and there are moments when juggling these various roles can be exhausting and overwhelming. Wearing multiple hats as an artist is no small feat. However, even on my most challenging days, I wouldn't trade this profession for anything else.
Could you tell us about your plans for 2024?
Next year I have several exciting plans. In January, I've accepted an Artist In Residence program, where I will be working in a studio space with another artist. I’ve also been asked to serve as an art tour guide for a group visiting Nepal. Additionally, I'll finally have my country studio in South Gippsland ready and open for the studio artist trail.
Want to find out more about Elise Judd’s art and business?
Website: https://www.elisejudd.com/
Instagram: @elisejuddart
Subscribe to Elise’s mailing list: Click here
Are you ready to create a full-time career as an artist?
The Full Time Artist Formula online course provides you with the roadmap to transition from a part-time artist to a full-time professional. Created after researching over 300 global artists on how they developed financially rewarding art careers, this online course will take you from wondering what to do next to having a clear success plan.
This is the program Elise describes in her interview.