The Art Will Not Always Speak For Itself

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The Art Will Not Always Speak For Itself 

The art doesn’t always speak for itself. Sometimes the person experiencing your art needs that in-person interaction—that voice to respond to enquiries, to give further context, and for others to understand and truly appreciate the work. In many settings, this role is filled by curators, gallerists, or gallery staff, and sometimes by you, the artist, when present to offer direct context. Even though I am a curator, I often find myself asking questions to venue staff when I visit presentations of work. When I meet artists for the first time, even if they have a written statement to hand, I will usually ask them to speak about their work. That’s because I get a more detailed sense of the work, who they are, and why they do what they do. These direct interactions make a difference, offering insight, clarity, and connection that static wall texts or labels can't provide.

I understand that not everyone feels confident speaking about their practice. It can be hard to know where to start, how long to go on, or what’s worth saying. Talking about your work in person—especially for the first time, and with people you don’t know—can feel awkward, even cringe-worthy. If the work is new, or you haven’t had much feedback yet, it can be even more difficult. However, being able to speak about your work in person, even just a little, can make a real difference.

An example of a presence that made all the difference—something I wrote about in a previous edition of this newsletter—was an experience I had at an art fair. I had entered a gallery’s booth and was met with what felt like a bit of a hostile reception and a reluctance to engage from some of the gallerists. Before I could make the move to leave, I was swiftly approached by one of the exhibiting artists represented by that gallery, who took great care and time in guiding me through their work and practice. That interaction gave me a strong sense of their work—the motivations behind it, the themes they explore, their processes, and the materiality. Their work ended up being among my favourites from the entire fair, and I’m honestly just waiting for the right opportunity to work with them—to feature their art in a future show I have in mind. I don’t think I would have gained such a true understanding of their work without that direct engagement. Their generosity and willingness to share made all the difference.

Another example was quite recent, an actually the inspiration for me writing about presence. A colleague and I visited an exhibition that featured the kind of creatives we’re currently looking to commission for a project. It was the opening day of the show, and we were surprised that only one of the artists (out of around 20) was present. There was no representation from the organisation (the show was off-site in an external location). The one artist who was there was invigilating the show and available to answer questions—a big job, considering the exhibition spanned three floors and four different spaces. To their absolute credit, they were generous with our enquiries, answering questions not only about their own work but also about the work of their peers. When it came to speaking about their own practice, we even brought out chairs so we could sit down and have a proper conversation. They shared their motivations, inspirations, and future ambitions, which added context and translated their work beyond what was written on the exhibition label. We left remembering them more than the other artists who weren’t present. This isn’t a criticism of the others—there are many reasons why some of the others, and event the representative from the organisations might not have been able to be physically present on that day. These artists are very early in their careers and may not yet have had guidance on how to navigate the art world professionally or build networks. However, when one can be present, it does make all the difference. It could be the bridge that leads to new relationships, which in turn lead to opportunities such as commissions, exhibitions, residencies, funding etc...

Perhaps most of you reading this are already the converted, and only a few of you needed to take on this guidance. But for whatever reason, I felt compelled to write about it this week. Maybe it’s a reminder, maybe it’s encouragement.

If you don’t have the support of a gallerist, gallery assistants, or curators to speak on your behalf, you may be the only person you may have to depend on to speak for your art.

Anyway, here are a few pointers that might be of help.

Be present when you can.
If you’re in a show and it’s accessible for you to attend, try to be there—especially during public hours. Consider reaching out to a curator, gallerist, tutor, or fellow artist who might be interested in the work, and offer to give them a walkthrough. A quiet tour with time for questions and feedback can leave a strong impression. And if the exhibition doesn’t have an invigilator or staff present, your presence can make all the difference. A staple should be at least being present for the opening night of a show that you are in (where accessible for you and your commitments).

Ask for support if you need it.
You don’t have to do it alone. If speaking about your work feels overwhelming, bring a friend, peer, or tutor who can support you—by simply being there, joining the conversation, or helping introduce your work. If you're eligible, look into access funding for an access assistant, particularly if you have a disability or neurodivergence that impacts your communication. That might mean someone helping with social interaction, or just being a reassuring presence.

Practice.
Start small. Write a few sentences about your work that you feel comfortable saying. Practise with someone kind and encouraging. You’re not aiming for a polished pitch—just a way to speak about your practice that feels authentic. Over time, it gets easier. Also, visit gallery tours and events where you can hear other artists speak about their work.

Today’s newsletter is also the last in my ‘overcoming the cringe of self-promotion series’ (for now).

Developing Your Creative Practice (DYCP) Deadline Guidance

Apologies, I didn’t get to send out the DYCP newsletter at the end of last week, so here is a compact version of what I planned to share. 

Some of you will be in the process of applying for DYCP (Developing Your Creative Practice) funding. With the deadline fast approaching (Midday on 22 May), here are some key points and a helpful checklist to strengthen your application:

Key Point to Remember

This funding is designed to support your personal and professional development as a creative practitioner. Its about giving you the time, space, and resources to explore, experiment, and grow in ways that would not be possible without the funding. Reflect this in your application and try to avoid putting unnecessary pressure on yourself to propose a finished body of work or final product to be completed within the development period. This fund is about the process, not the product. Make sure your responses are authentic, considered, and clearly articulate your goals, motivations, and the potential impact of the opportunity on your practice.

Application Checklist

☑️ Have I clearly articulated what I want to explore or develop in my practice?

☑️ Have I explained why now is the right time for this development?

☑️ Have I expressed how this funding will make a genuine difference to my creative journey?

☑️ Is my application personal and reflective of my individual voice and experience?

☑️ Have I included a realistic and focused plan of activity, showing how I’ll use the time?

☑️ Have I prepared all required the supporting information (e.g., budget, work samples)?

Um, Where Is The Opportunities List?

I know that the listings of opportunities for funding, exhibitions, residencies and commissions is a big part of what makes ARTiculate beneficial for many of you. To keep things light (and save your brain from newsletter overload), I’ll be sending creative opportunities separate to the weekly newsletter, once a fortnight. Opportunity listings will be accessible via email only, for subscribers.

Closing Remarks

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.