An Interview with Wideyed

All images courtesy of Wideyed

Andrea Allan: Can you give me a quick introduction as to who Wideyed are, and what you do?

Louise Taylor: Wideyed is made up of Lucy Carolan, Richard Glynn and Louise Taylor. We produce work and try to do exhibitions and residencies.

Lucy Carolan: A photography collective first and foremost. A non-profit constituted organisation, the simplest form of group. We do have a bank account and this allows us to function as a proper organisation.

LT: We’ve been going since 2008.

LC: We’re quite old as collectives go, as they usually only last a couple of years.

AA: Do you think there are any reasons for that?

Richard Glynn: Partly, perhaps because there aren’t that many of us, there’s less chance of disruption.

LT: Some of the groups that tend to come and go, from what I’ve noticed, are because they are a result of people who have graduated from university together, and are a bit too quick in setting something up.

RG: If your reason for working together is that you studied together for a short period of time in a perfect manner then that doesn’t necessarily work afterwards.

LC: I think that it can be good; you develop your own support network after university has disappeared and is no longer there to support. But then people realise that they don’t have as much in common as they thought they had. Otherwise a lot of collectives come together to do a specific project, and then once they’ve done that, they realise they can’t manage to continue. I was part of a collective before this one, in Paris, and we came together for a project, and once it finished the group blew apart.

AA: As I understand it you do separate pieces of work, at other times all three of you work on a piece.

RG: It can be collective, but then it can be collective with two or three of us. It could even operate as just one of us. It works flexibly, that’s the best way to describe it.

AA: Has that helped you to continue as a collective? Do you feel there’s enough flexibility to go off and do what you need to do, knowing that you still have that support?

LT: The benefit to Wideyed is that it’s not wrong to do individual work and collective work. Even if we’re not doing something high profile together, our CV is still evolving. If say Richard won an award or things like this then it is still under the Wideyed banner, even if he does it off his own back. It just keeps us celebrating what we’re doing.

RG: As a collective it means that our identity can evolve and, as such, instead of being a name fighting against many other names, you’re a contributing factor to a far greater identity. It acts like an umbrella to cover whatever we decide to do really.

AA: A lot of the work that you do is socially engaging. Is part of the success of the collective due in some way to that factor?

LT: Define success.

LC: To start with the projects we did were more outward looking than they are now. We are still doing participatory work, but I don’t know. For the first projects we did, we were interested in showing other photographers work, from outside of the group, and we haven’t really done as much of that in the last couple of years.

RG: Well, we have, there’s the Balkan photographers [Periskop] we brought across so we’ve shown their work, as part of The Social. We have still touched upon and shown other people’s work. But we’ve all been doing other things.

LT: What we haven’t done is shown our own work much. There’s only the Vino project, which was quite indulgent in a way as it was just our work.

AA: That was a piece that spanned over two years, 2010 and 2011. You went out to France for two seasons, during autumn time. Working in one specific place as part of a residency. How did that work for you as a collective? The end result was a newspaper publication, and an exhibition of the newspaper, correct?

LC: There was one newsprint exhibition in 2011 at the residency site in France, one newspaper publication that kind of served as the catalogue for the ensuing gallery exhibition that toured from ARThouse in London to Espace Beaujon in Paris as part of Mois de la Photo-OFF in 2012 (prints in frames for once, plus prints in wine bottles), and finally in 2013 we did another version of the exhibition as very large prints magnetted to the walls at Truman Brewery in London.

LT: It was more of an experiment to see if it was possible. We didn’t actually go with a game plan.

LC: Everything we’d done more or less up to that point was, we’d been showing other photographers work and we thought that we were running the risk of Wideyed becoming a curatorial collective rather than three photographers who do their own work too. We needed to do that, a collective project, where we could showcase our own work for a change, to try and bat off this danger that people assume we were a group of curators.

AA: There’s a balance on that front to help other people but also your selves as well.

LC: We kind of fell into it, all the projects we’ve done have been a bit organic. We haven’t really planned any. Basically, the first exhibition we did came about because somebody approached us: at the time [right at the beginning of the collective] we were running a gallery and were asked, would you be interested in exhibiting this photographer’s work [Newsha Tavakolian’s first UK solo show, ‘Sisters in Chanel and Chador’] as part of a festival. At that point we’d only just set the organisation up and we had no idea what we wanted to do, as we hadn’t really had time to work it out. And so we said yes. As a result of that project we thought, this is really interesting, it’s quite nice, and you’re reaching out. We decided to continue showing the work of photographers who otherwise wouldn’t have an exhibition [in the North East] as they live too far away [and aren’t important enough]. After Newsha, we worked with Indian photography group Blindboys, and we brought their work to Newcastle. We’ve not really had a game plan, we’ve done a project and learned from it, and then thought “we can do a bit more of that, but slightly differently, maybe we could do this…” We’ve also gone where there’s interest, whether it’s a call for submissions, or if one of us has an idea. It’s all kind of developed like that.

LT: The show that you [AA] were involved with, the ASA slideshow, again right back at the beginning we didn’t think that would happen, we just responded to an expression of interest for an exhibition at Format festival. The curator didn’t say, that’s amazing I want your work; she said, [I like your idea but] I want you to work with these people [ASA Collective] who we’d never met before and who lived in London. We took it on board and made it work.

LC: ASA’s speciality was slideshows. We asked them if they’d be coming up [to help us hang our joint Re:Mapping the Flâneur exhibition at Newcastle Art Centre], told them we’d got a venue and an interested audience, thought we’d just organise something. At that stage we’d realised how interesting it was to show other people’s work, from far away, but we were also curious as to what photographers in the region were doing as well, and we wanted to set up a social event, so we programmed five photographers from the North East and five photographers from elsewhere. We got people talking to each other about what they were doing in the region, the event worked really well. We couldn’t afford to continue though, and it’s a shame nobody else has picked it up and run with it.

RG: I think the slideshow you [AA] were involved in, that was a mixture of local and national. With the gallery we ran originally, the aim was to show international alongside national people. So Simon Norfolk’s Chronotopia was shown at the time, a couple of German photographers were shown, and then local photographers [Dean Chapman, Paul Alexander-Knox, Lucy and myself] had their work shown in the same space. So it evolved on.

LC: I mean when you think about it, the [collective’s] trajectory makes sense, but only in hindsight.

LT: But it could have been so different if we’d stayed in that gallery. I think we would have been a bit more structured.

RG: I don’t think we would have done such interesting work though.

LC: The arts centre in Darlington was where the gallery was based; we would have been kicked out [anyway when the art centre closed]. We still would have had to evolve then, even if we decided to set up another gallery.

AA: Can you give me an overview of Therblig, and how that came about?

LC: My brother is an engineer at the paper mill in Prudhoe (that makes toilet paper) and I was really curious about his job. And also the theme for Format Festival came up and it was ‘Factory’.

RG: It was also part of the frustration that every time you go to an exhibition in the North East, it’s all “oh industry is dead in the North East”. Well no, factories have just changed. You don’t get a ship down the end of the road you get a box. So it was also about the confrontation of old ideas; what are the factories now?

LC: Another idea behind it was that we got interested in the Gilbreths.

RG: It was sort of the time management and how does a factory work? A factory works on a process, how do you analyse a process. It all goes back to the Gilbreths, to building brick walls, breaking tasks down into the bare bones. And thirdly, Gilbreths measurement of a unit of work, called Therbligs, there’s about eighteen of them, there’s lift, grasp, move, release, rest and so on, that’s how it’s broken down.

LC: It’s like a sort of lexicon, a kind of language. We actually went to talk to a lady, who produces dance, to see if the stuff that we observed in the factory could then become a collaboration with a choreographer as part of the project. The end result might have been a bit different if our funding bid had been successful. Instead we ended up doing the work with bits of string and cardboard. We went ahead because we’d already committed to Format, and it was a project we really wanted to do anyway. But it ended up being a straightforward print exhibition.

LT: It wasn’t straightforward. There were no frames!

LC: It was more straightforward than it would have been if we’d had the means to develop our idea a bit more. We had quite a big idea, and we ended up approaching it in a much simpler way than we hoped. But we did play around with the exhibition. We used one of the giant toilet rolls to project our video piece on. And the footage we collected [as reference] was from the engineers, who use film and photography to keep an eye on the machines, which was a nice turnaround [to the Gilbreths, who used film and photography to study workers]. Inspired by that we made our own video piece with a soundscape, and took the cardboard rolls to hang the prints off. It was quite good fun.

AA: Obviously you had to approach the factory in order to do the work. Did you ask them for any funding?

RG: They offered us toilet rolls.

LC: A lifetime supply of toilet rolls. We approached them for sponsorship as well. We went to see them and said, we’ve got an exhibition space as part of this big international photography festival, there will be x amount of people who visit it, it might be interesting for these people to see your business/product in an entirely different way, all that sort of thing. It could have worked but the guy in charge of their PR is really old school, and his idea of making the best use of our exhibition was to build a pyramid of toilet rolls in the middle of the exhibition space and have somebody there with a clipboard telling people about them. It was just a nightmare. We think the reason we didn’t get very far with sponsorship is that they knew we were applying for Arts Council funding. On one side, it was like Arts Council thought, “oh why should we give them money when they’ve got a massive international company behind them, and they’re talking about sponsorship”, and on the other side the factory thought, “oh the national arts organisation don’t think this project is worth investing any money in, so we won’t either.” And so we got screwed on both sides.

LT: We were badly advised as well, because we didn’t know about the Swedish link until after the application.

LC: There was a Memorandum of Understanding between the region of Gothenburg in Sweden and the North East through the two regional arts councils, an agreement to spend a set period of time actively supporting cultural exchanges between the two areas. Our project fitted perfectly because SCA in Prudhoe is a Swedish company, but we didn’t find out about the MoA till quite late. ACE don’t exactly advertise this sort of thing. We did end up being one of the very few organisations marginally involved in that memorandum [consortium] that actually did something about it, but we did it without any support.

AA: Do you think there is a shift in the Arts Council’s perspective to get try to get businesses to support artists, in this case if you’re doing a piece based on a business then they should be the ones that support you?

LC: Well they didn’t say that to us. They said they liked the project but didn’t have enough money to go around. But we had feedback from someone involved in the Swedish exchange program that said otherwise.

RG: The paper mill did help at a later stage, assist with things like lending us the giant roll of tissue that we used as a projection screen.

LC: Which has a value. We got some in kind support.

RG: They brought a number of the apprentices down from the factory to New Art Exchange in Nottingham to actually see the exhibition, which was nice. And what we’d also said was that we would like to bring the exhibition back to the North East so that more people there could see it. So we managed to bring it back up to Prudhoe in a fantastic venue (with things like with state of the art television studio), which nobody seemed to be using. We put the exhibition in there with the assistance of the PR side of SCA.

LC: They did cough up some money for that. It covered the cost of making the work and printing the exhibition. So we kind of broke even. I think they probably paid the celebrity chef [at the opening event] more than they paid us though. When you’re working in a situation like that, there are ways in which to approach a big business, and it’s mostly via the PR side. You’re dependent on how good the company’s PR is, that’s what makes it easier or not to work with the company. My understanding of PR is it should act an interface between the company that isn’t very good at communicating with real people, and the real people they need to sell their shit to. It’s a shame [it’s not yet worked for us], a missed opportunity. We still managed to do something [with SCA]; we were quite stubborn about it. We’ve had more than one experience of trying to work through PR, the previous one was with [a big name printer manufacturer]. With the curator of the exhibition we were working on, we approached them [the PR people] and asked for few thousand pounds [plus some product and tech support with it] towards the work we were making. And they said OK, and they went away and came back with an offer of £14,000. But in the breakdown of how the money would be spent, only £1,000 [in kind, product] would have been of any direct use to us, the rest was for the PR company to spend on somebody sending a couple of tweets a week. And, again, they wanted somebody with a clipboard in the gallery telling people about their product!

AA: Do you think there is a misunderstanding between the two, artists and businesses, not fully understanding what the other one requires enough to be able to support it enough, so that they can promote both themselves and the artist?

RG: I think with [big name printer manufacturer] it was an experience with a really big [London] PR company, who saw it as an opportunity to maximise their budget and pat the artist on the head and give them a little bit to make them think they’re getting a good deal. And that’s what I think it was. They have their own agenda; I don’t think [big name printer manufacturer] knew much, if anything, about it.

LC: We did turn them down quite quickly. It’s a shame because, if PR have too fixed a way of thinking and working, things that they’ve tried and tested and think work - people in costumes giving out toilet roll, do you know what I mean - the artist’s offer is at a tangent to what they would normally do. But the ability to trust the artist to attract people in a different way, I don’t think they are always able to see the potential in that, or have the trust to let things go, and trust artists to work.

LT: I think that’s about track record though isn’t it. I suppose if Martin Parr approached them with a project idea and they liked that style then maybe they would trust him because of his name. Maybe they’re right to be nervous. It’s frustrating for us, but it’s not such a surprise.

LC: Although we kept being really stubborn [with SCA], got people to nominate us for the [2013] Culture Award and then actually won it, they still weren’t interested! “Oh, they’ve won an award. Does it help me make more toilet roll?” It’s that kind of thing. But if we ever, after we’ve recovered from that experience, have another brilliant idea that involves a partnership with a big business, we can now turn up with the Culture Award!

AA: As a form of validation?

RG: Yes

LC: Hopefully it might be a tool that we can use in the future, to more successfully approach people who have never heard of us before.

AA: Although you exhibit in galleries your focus is on participatory practice, at least it has been up until now. Do you think the structures that are in place for photographers or artists to gain validation in this field?

LT: It must alter with the times. At the minute we are aware that there is a massive pot of money in East Durham but we’re not entirely sure of how you get hold of it. So those structures aren’t in place, because they’re not communicating with local artists. How we can develop new projects?

LC: In our experience, when our funding applications have been successful it’s been for projects that involve us working with other people. But when we’ve tried to apply for funding to do our own thing, that’s not been so successful. That might be changing now. But still, it seems to be that the Arts Council prefers to support organisations that channel their money. That will use funding to commission, and so make decisions for ACE about the nature and quality of the art that is funded. Who gets the money? Organisations, mostly. In some ways that’s why we set up Wideyed, because we thought as an organisation it would be easier to get funding, to get people to take us seriously. Has that worked? We set up our own structure in a way, to …

RG: …Become our own middleman. Middle step. That’s what seems to happen with commissioning.

LT: You can’t be rigid about these things either; you have to wiggle with the times.

AA: When I was talking to Carol McKay, from the North East Photography Network, about ‘The Social’ that the idea was born out of discussions that they’d had with Alistair Robinson. How the idea was partly more his than theirs, as the NGCA is already funded a gallery they can’t apply for more funding, so it went to the NEPN. It was emphasised that it was because it was a partnership between two big bodies that it was to come about. It’s interesting to see how that would have worked out had it been a group such as yourselves who had put that idea forward, whether or not it would have come to fruition. Whilst at university there wasn’t much discussion as to how you were about to sustain yourself after graduating, or any information given as to how to apply for funding. Is there any training or education that you think has helped you to be successful and work as a collective?

LT: Do you mean in terms of money or…?

AA: It depends on what you class as successful, whether that’s money or not. It could be ways that validate your work or to make yourselves more visible as a collective.

RG: Stepping back to the grant application side, what I’ve been able to put into applications, which I think helps, is business planning, risk assessment - meaning, what happens if photographs don’t turn up, what if this or that happens. Where are your risks? And those elements of business practice went into the grant applications. It helped our applications become stronger because we’ve got a budget in there, a time frame, program, risk assessment, all those structures are in there. Now that comes, for me, out of training, and having many jobs over the years. You’ve got it because you run your own finances (Louise), you’ve got it because you’ve dealt with commissioning and programming (Lucy). We’ve all managed stuff, and it’s about applying that knowledge and experience.

LT: In terms of being a successful collective, again, it’s what you consider as successful, but the bottom line is, usually we all get on. That’s pretty essential.

LC: In terms of being sustainable financially, we’re not really at all. When we set the collective up it was 2008 and the recession had just kicked off. The first money that we raised, we got by buying at auction a job lot of old camera equipment (after a tip off from somebody to say it would be there), and then selling it on eBay. The profit from that became part of the money for one of our exhibitions [Blindboys Wideyed]. So we weren’t funded to start off with, and that hasn’t really improved much.

AA: Is that important?

LT: Yeah, because that’s the tiring thing for me, self-funding things or all the petrol that gets put in the car.

LC: Louise manages to work in photography by doing a lot or workshops and running programs for the council, a lot of engagement programs.

LT: But it’s not a stable income

LC: It’s not what we set out to do. It was supposed to be about our practices as artists, and not as an agency. We haven’t let the fact that we’re skint all the time stop us from doing things. But it does get a bit wearing. And after seven and a half years, one wonders when or if there will ever be any snowball effect. You put the effort in, you’ve worked on a portfolio, you show it around to people, and some point somebody should go “oh, I remember you, I really need somebody like you to work on this project.” That sort of thing, but that never happens, and I just don’t understand why. We know loads of people now as well.

AA: Going back a little bit to working and doing things with the NEPN. Louise you had your work Shoot in ‘The Social”. Was that in book format or an exhibition?

LT: Well, obviously the overall theme of the festival was the social. So I just submitted my shoot project because it seemed to fit. And I hadn’t really considered it as an exhibition. I’d always considered it as a book.

RG: I think you’d always considered it as a Saturday morning!

LT: I don’t really know what I considered it as, but I thought it would fit. Ended up showing at the DLI, which was an exhibition. The curator of the DLI is a bit savvy with funding; she lives in Teesdale, and knew that a wealthy landowner, who owns massive grouse moors in Teesdale, is a bit of a philanthropist, who supports local projects. She asked him for 3 grand, he gave her 3 grand, and we used that to do some education workshops alongside the exhibition. Did a bit of promotional postcards, and that’s what I used to make the book. Which was an interesting process in itself because there wasn’t really enough money to have a proper print run. So it kind of ended up falling into the print on demand category, which I didn’t really like the form of. I just ended up making it myself.

RG: We always tried to achieve something that we haven’t done before. Stretching us in some way. I think that’s what we’ve done. Exhibitions we don’t know if they’re going to work from day one. It’s a live process making exhibitions, you haven’t got the foggiest idea, am I going to make a book – no but….

LT: YouTube can show me.

RG: And it becomes that. Do something else that will stretch you every time.

LC: Is that [idea, process] something we can do?

LT: I was quite pleased with that whole [bookmaking] process though actually. This is where the supportive part of Wideyed kicked in. Because yeah it’s my work, Lucy and Richard had seen a lot of it in various edits. But, their eyes helped in the final edit, not in so much in a way of you need that one, that one and that one, but questioning. That’s kind of the strengths really. I was quite proud of that.

AA: A lot of the projects that I’ve looked at seem to be, I don’t want to say alternative, but for want of a better word, alternative in their presentation. For me this is something that I find interesting on a personal level. What benefits do you feel you have in presenting work like that?

LC: It’s cheaper!

LT: The empty shop space for example, I was part of one years ago and then there’s the one Wideyed exhibited in Newcastle. I liked those because the normal public come in; there are not those barriers to galleries. Well, some people think it’s a barrier, but that’s what I like. It’s more accessible to the general public.

LC: I’m quite happy to go to an exhibition and everything’s beautifully presented and framed, and you can see your reflection in the glass. You can check yourself out. But, I get a bit bored with it for myself. I’m interested in how photography is quite difficult to present in any other way. Because it’s photography, it’s like a window already, so how do you do something different without being gimmicky? And be appropriate to the subject of the work you’re presenting. On the whole though we have had to be inventive because we haven’t the money to do otherwise. With the Blindboys exhibition, at first we thought we might be able to use one of the Railway arches in Newcastle to exhibit in, but the wall cladding is metal so we thought, how do you exhibit with something that is a metal sheet? You can use magnets. Even though that venue fell through and we ended up in an empty shop, we realised that we could use magnets anyway because we discovered ferrous strip [it’s like sticky tape with iron, can be used with magnets]. Magnets and ferrous strip are cheap and won’t damage the print or the walls you stick it to. Suddenly, through force of having to come up with affordable solutions, we found ourselves coming up with solutions that are both cost effective and interesting as well. Really interesting. Louise has done experiments with materials you can heat shrink to whatever surface, and she’s still playing around with that.

LT: What I love about that is how people have to touch it, out of curiosity. And I like that. That extra sense.

LC: What struck us once was, during one of the first conferences that NEPN ran, the keynote speaker was Sarah Pickering and we were in the audience, she was on the stage with one of the curators from the V&A. The V&A lady is going “oh we’ve just purchased some of Sarah’s work and the frames we had to put it in cost ---“, and we saw Sarah Pickering go (jaw drops), like if she’d had something in her mouth she would have spat it out. My impression was that the V&A had paid as much if not more for the frame that they’d put the work in then they had given her for the print. While you can understand that they need to protect their investments, and there are costs associated with that, maybe if Sarah Pickering had known she would have sold her print to them in a frame? These big organisations, they’ve got shed loads of money but they spend it on - and this seems so middle class to me - they spend it on stuff, like frames and furniture and swank. It’s a bit of a shame really.

LT: Sarah Pickering had the exhibition in the big space next to my little one. And I’m pretty sure the cost of one of her prints and frames would have been the entire budget for my whole exhibition.

AA: Do you think it’s important for photography as a medium to look at these alternative ways of presenting work?

RG: I think it’s important for the work to be validated on its own merits rather than how it’s presented. I’m very interested in how it’s presented in different ways, but as Lucy said that’s sometimes a consequence of circumstances.

LC: It’s an interesting question though.

AA: For me, when I went to Paris photo in 2013, and then on to the Pompidou centre and saw the Pierre Huyghe exhibition. I found his work absolutely fascinating, it’s one of those things where you see someone’s work and it’s just mind-blowing. It was the first exhibition that he had done in a gallery in ten years. In an interview he said it was too restricting to work within the confines of a gallery. As a consequence he worked out in the city as it opened up so many possibilities for him. I thought that mind set was interesting, and I wondered if this is something photographers should be looking to explore, to break away from the white walls.

RG: I think you’re right.

LT: You can make your own opportunities. I think you would be daft to try too hard with the alternative presentations, because if you’ve got bad work it isn’t going to make it any better. I think it’s got to be sympathetic with whatever the work is.

LC: I think people can tell if it comes from a genuine place or not. If it fits the work you’re exhibiting.

AA: You worked with Periskop on a slideshow, which was in Sunderland. How did that come about?

LT: In 2011, we got a development bursary I think it was called from Artist Newsletter. Sorry, a Go and See bursary. We went and met a bunch of photographers from Belgrade Raw, a collective in Belgrade. We were thinking of trying to develop a project with them, we liked their work, all this sort of thing, so yeah we met them but aside from meeting these guys we were also introduced to Michael Bowring who is a British photographer who lived in Belgrade. Kept in touch, and then he subsequently began doing these Periskop slideshow events.

RG: That [Periskop] came about in Belgrade because their concern in Belgrade is that there is nowhere to show work. There are one or two galleries, but there’s not really anyway to show work, so they started off slideshow evenings, where people can come along and show their work. We knew it fitted The Social.

LC: When we had the idea and Periskop came over - Michael, Mark, Olivera, Tomas and Jetmir - we got money from the NEPN, but we didn’t have quite enough to take them to a restaurant or do anything fancy, none of us have big enough houses.

LC: That’s why, after Sunderland, we organised an evening slideshow at Allenheads Contemporary Arts, and used their schoolhouse space to stay in and cook a celebratory meal for everyone. That’s how that came around really - we’d always wanted to do something with ACA, but we couldn’t think what. It is a bit random coming out the Allenheads and showing pictures from the Balkans. Alan and Helen [at ACA] know their area and audience really well so it’s really strange, so we spent ages, we got really good at asking questions and talking about what we were looking at. So they were showing us pictures, which was more engaging.

LT: It was more visual space as well.

LC: It’s more intimate.

AA: You haven’t worked with them on a project though?

LC: No. How did we meet them?

LT: It was the Nomadic Village [in Wolsingham]. Well in a way it was, but in the Nomadic Village really.

LC: Oh yes. We did the Nomadic Village residency. We connected with people there we probably wouldn’t have otherwise.

RG: I mean, from that first Nomadic Village, well Lucy and I had been to Bulgaria and also to Sweden. As a result of people that we had met there. From another Nomadic Village, we ended up staying in a village, tucked right up the side of a mountain near Lake Garda. It’s the people you meet.

LC: It’s not just that, the work is interesting but the connections you make with other artists have proven fruitful.

LT: I’ve been invited out to France a couple of times, which has been quite nice. In the first time I stayed with a random family, second time in a spare flat. I was supposed to be doing a reconnaissance for some work, taking pictures, and then the second year I was exhibiting those photographs. Call it a mini residency, but I mean you don’t get paid or anything. Actually both times they paid for my flight.

LC: If they pay your costs and as long as it doesn’t last for months as that’s quite a commitment. We can recommend it though. It was useful.

AA: Do you think there is enough financial support for people pursuing this type of career?

LT: I’m not sure. I think I’ve noticed there’s a fair amount of support for people who are just starting. Durham Creative offers loads of workshops for people who are just starting out, but we’re not eligible for any of them. That’s why we built up our own little support network.

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