Not All Artists Make Their Full Living from Art Alone

Not All Artists Make Their Full Living from Art Alone

A couple of months ago, I took part in a panel discussion with fellow art professionals, speaking to final-year fine art students about navigating the art world. The session, was part of a professional practice module, where we offered insights and advice on kickstarting a career as a professional artist. One key topic, however, didn’t come up until a student asked a question along the lines of: What does it really look like to work full-time as an artist and earn a sustainable living? His question came partly from family pressures and understandable anxieties about life after graduation. We had to be honest and based on our collective experiences, the reality is that most artists do not earn their entire income from studio practice alone.

The UK Visual Artists' Earnings and Contracts Report 2024 by DACS (Design and Artists Copyright Society) revealed a stark decline in artist earnings and deepening income disparities. The median annual income for visual artists was £12,500—a 47% drop since 2010. The report showed that women and other genders earned 40% less than men, while disabled artists earned a median of just £3,750. Over 80% of artists described their income as unstable, and 65% earned below the national minimum wage. Although nearly half of respondents considered art their sole occupation, over half needed to take on additional work to make ends meet. I’ve worked with artists who cannot rely solely on their practice to make a living. Some have won awards, exhibited internationally, participated in major art fairs, built a strong collector base, and shown work in respected institutions. For musicians I know, they’ve toured the world, collaborated with big industry names. Yet, even with these credentials, they still need to supplement their income in order to get by. Many do so through teaching a creative course within an institution or independently, work for creative companies for commercial clients, or take on jobs entirely outside the arts—such as cleaning, admin, care work or hospitality. It’s a reality that isn’t discussed enough, but it's a vital part of the broader conversation around sustaining an artistic career. I’ve worked with close to 100 artists at different career levels during the course of my career, and I can tell you that not even 5% of those are earning their income entirely from their studio practice.

The student’s question led to a discussion about the importance of diversifying one’s practice—finding ways to apply creative skills beyond the studio. This, by the way, doesn’t make you any less of an artist. You’re still working through your practice, just in different forms. There are many ways artists expand their practice: running workshops, giving talks, taking on visiting lectureships, or collaborating with brands and organisations. These routes can not only help sustain you financially, but also open your work up to new contexts and audiences. A great example of a diverse practice is the internationally recognised artist Lakwena Maciver, whom I had the pleasure of hosting in conversation last year. Her vibrant, text-driven practice spans large-scale public installations and murals, institutional exhibitions, commercial gallery shows and representation, merchandise, and brand collaborations. For her more commercial work—whether it’s a children’s clothing line for H&M, a Mini Cooper design, or a campaign for Nike—there is often a brief to follow. But what’s key is that her distinctive visual language and the core messages in her work still shine through. This kind of diversification doesn’t dilute her role as an artist; it amplifies it.

A parent buying a T-shirt may never visit the booth of a gallery selling her work at an art fair in Miami. Someone wearing a pin with her design might never be able to afford an original painting. Young people at a juvenile detention centre in Arkansas, with whom she created a collaborative mural, may never set foot in a museum or gallery hosting her solo show. Yet all of them get to encounter her work in ways that are accessible to them. That’s the beauty of a diverse practice—it brings art into everyday life and reaches people where they are. Lakwena’s example is that of a larger scale of work. Other examples of diversifying practice could be in the form of education, through workshops, online courses, visiting lecturer work, community organising, talks and so on.

Some artists choose to focus on their practice part-time. This approach can offer a more balanced lifestyle, allowing space for creativity without the pressure of it needing to be their sole income source. One common pathway I’ve seen involves taking on a full-time job that supports studio space and materials, with evenings and weekends devoted to making work. Others opt for part-time roles that offer flexibility, particularly in hospitality, where early morning or late night shifts free up time for the studio. This structure can help artists stay connected to their work while meeting essential needs like shelter, food and wellbeing. There is no shame in this. You’re still an artist. Your creativity doesn’t vanish just because you’re also working in a café, office, classroom or care home.

Pursuing alternative income streams, whether within or outside the arts, can also be enriching both personally and artistically. It broadens your perspective, introduces new skills, and often connects your work with wider audiences.

Bashy’s words made me reflect on my own journey—working multiple roles outside the arts to make ends meet whilst I was figuring it all out. At the time, I felt ashamed and rarely spoke about it. But looking back, I’m grateful. Those years shaped me in ways I couldn’t have anticipated. And I have come to realise just how common this reality is for many creatives! The experiences built my resilience, grounded me, and taught me to approach my work—and other artists—with empathy and understanding. They also helped me respect boundaries, and to value all the unseen forms of labour that sustain our lives.

This post is not about discouraging you to pursue a full-time studio practice. If that’s your goal and you’re in a position to do so, go for it. However, in reality, for many artists seeking a sustainable life (especially those from working class backgrounds), studio work alone may not be enough.

There is no single way to make money as an artist. Whether your studio practice is full-time, part-time, seasonal or collaborative, every version holds value.

Introducing: Double Shift

In the next few editions of this newsletter, I’ll be sharing a short series called Double Shift. It features artists I’ve had the pleasure of working with over the years, who balance their studio practice alongside other kinds of work. Some within the creative sector, others completely outside it. The series aims to shed light on how artists today are navigating the realities of our world and what it means to build a life that supports both creativity and a sustainable livelihood.

Each edition will include a brief written reflection, accompanied by a 15-minute conversation, the length of time of a tea break. It will be available to listen to on SoundCloud. The first episode will be released next week.

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Closing Remarks

I want this newsletter to support you and help you make the most of your journey and career as an artist. That means being honest about all sides of the story—including the not-so-shiny realities that come with it. Sometimes it’s about juggling different jobs, managing your time, and finding creative ways to keep going. Understanding and accepting these challenges is part of building a sustainable, fulfilling life.

If you have made it this far, thank you for reading. If you know anyone who you think would benefit form these newsletters, forward this to them, and encourage them to subscribe