What is your favourite part of your work?
Creativity! The myriad nature of the work. I love the challenge, the problem solving, the wonderful feeling of making and doing and a job well done.

If you were at the beginning of your career again, is there one or multiple things you would do differently?
Definitely a few things I would do differently – I spent a couple of years on a blind alley in the design world- I had a small fashion and accessories business that I thought would help fund me as an artist but just bled money. I was actually doing far better selling artwork and exhibiting so I gave that up! But there are loads of things really that I am sure all artists wish they had done differently. I learn from mistakes as we all do, from the good, bad and ugly experiences.  I then teach that to others, so hopefully, they can learn from the mistakes and the good outcomes!

You are an artist that is wearing multiple hats – curator, mentor, writer and more. Do you think that is needed today? Can artist only be artists to thrive they need to wear more hats?  
I love hats and have a huge hat collection! My mother was a milliner, so I mean it literally and metaphorically in terms of my portfolio career!  I relish all of these roles. They are all about transformation at the heart of it – as a curator, mentor, writer – I want to create a transformative experience- Through education and sharing knowledge, for example, as a teacher. All of these jobs give back to me too, and I am passionate about them all. It’s much more preferable than working in health regulation part-time to support myself! I can’t judge other artists what they need to thrive for themselves, but it certainly helped me succeed in having these roles and challenged me in so many wonderful ways. It changed my life actually – I proactively built an amazing art world and community through these roles, and I think every artist needs that.

Rosalind Davis, Exit Strategy VII, Oil on linen, 2020.

What are the essential qualities for an artist to possess? 
Resilience, kindness, a sense of humour, good friends. 

What is the biggest pitfall you see from new artists? How can they avoid it?  
Not being proactive about their careers- expecting someone to give them an art career without any effort being put in. I don’t think its intentional, but I think more education around essentially needing to be entrepreneurial as an artist would help.

What is the best piece of advice you can offer artists on what is vital for them to survive and thrive in the art world? 
Connect, exchange, learn, collaborate. Seize and create opportunities for yourselves and when they come to maximise them to the hilt! And remember to say thank you—very underused word in the art world.

Is there one false assumption about being an artist that you would like to demystify?  
That artists are disorganised and at the worst that we lead these indulgent, selfish lives. Artists contribute £11 billion to the economy for one, we create places that have cultural value, we educate, we help people, we are problem solvers, lateral thinkers and it takes a lot of resilience to be an artist – a vocation that has many challenges; it is very precarious, there financial instability and not enough opportunities. That along with the fact that we do not get enough respect for our profession -we soldier on. That takes a lot of psychological courage.

Rosalind Davis & Justin Hibbs, KP Bundle

Is there one thing you didn’t put into your book, What They Didn’t Teach you in Art School, and wish you could now add? 
When Annabel Tilley and I wrote the book, we were way over the word count as given the title there’s so much to cover and had to do quite an edit! I would have liked to have included some strategies and examples of creative collaborations and philosophies to reignite | inspire artists as the truth is we all get stuck at times!

Is there an anecdote or success stories that you heard in relation to your book and that you would like to share to inspire others?
The book has been such an incredible project. I have had so many messages from across the world about how this has helped artists – too many to give one individual story. It’s very exciting to hear how it’s helped people. A lot of people also message to say how they keep coming back to the book at different stages or when they need help in certain areas.

I have had messages from Europe, Mexico, Brazil, Australia, New Zealand, Portugal and more. It makes me incredibly happy. It’s a wonderful legacy for Annabel and I as well as all the artists and arts professionals who contributed to the book. It’s a treasure.

Rosalind Davis, Strange Lands, Oil and thread on linen, 2017.

There is a critical debate about going or not going to art school. You went to it, and you are teaching as well, is there one or more thing you learn from art school that has been pivotal to where you are today? 
It’s a big debate. I totally support art schools and teach in them – our book, by the way, isn’t a criticism of art schools – quite the contrary including some great quotes about art school by Graham Crowley and Virginia Verran that I include here as to the beauty of them.

Our book is the handbook for during and after art school to try and help set artists up for the next stage of their careers.

I think it’s very important for artists / aspiring artists before embarking on art school to look at the education you will get – who are the tutors, how many tutorials will you get per term, how much space you might have, facilities you can access etc. and student satisfaction surveys too rather than looking at just the name | fame of an institution.

I also believe that you can organise your own art education; put aside some money and book mentoring from artists directly that you might like to teach you (realistically) as and when you need input – which we all need from time to time!

Rosalind Davis, Haus Konstructiv, Steel, Perspex and Mirror installation at no format gallery, 2017.

What do you hope to see in 2021 in the art world?
I hope that there is more support for it and recognition of its importance to all of our lives. I hope more people access the arts and buy art.

I hope for more kindness.

I have been so impressed by hearing Matthew Burroughs talking at various events and hearing the artists’ philosophy support pledge and his wider philosophies and ideas.

THE BLITZ

  • The most significant influence in your life (person, theory, model…) My partner Justin Hibbs who is also an artist and my collaborator. He inspires me all the time and makes me laugh. We mutually influence each other in the best sense of the word.
  • An object you can’t live without I am afraid my iPhone – my portable work station, music, camera, diary and entertainment.
  • Favourite book    I can’t choose just one! Any book of poetry by Pablo Neruda,
  • When I say “art”, what if your first thought?  Happiness
  • What’s your idea of happiness? Art

Who is she? A little bit more about Rosalind Davis

Rosalind Davis is a curator, artist, consultant, writer, teacher and mentor.

A graduate of The Royal College of Art (2005) and Chelsea College of Art (2003) is a passionate and dedicated art professional directing arts organisations and curatorial projects as well as teaching, carrying out consultancy work with arts organisations, Daisy Green Restaurants and companies such as E4 and the Olympic Park.

Davis was the Curator at Collyer Bristow Gallery in London 2016 -20 and were featured in The Times, City Magazine, Art Top10,  The Londonist, Paul Carey-Kents Artworld and DateagleArt blogs. Since her appointment at the gallery she has co-hosted a number of events; for the Fine Art Group, The Mall Galleries and Young Professionals in the Arts as well as tours for Barry Schwabsky, the Smithsonian, the Contemporary Art Society and the Government Art Collection. Previous curatorial projects have been at Standpoint Gallery, Arthouse1, Geddes Gallery and with Zeitgeist Arts Projects an arts organisation Davis co-directed 2012-15 at Bond House Gallery (ASC) as well as at Core Gallery 2010-12. Both were based in South East London and included artists education programmes, art tours, and curatorial projects.

Davis is co-author of ‘What they didn’t teach you at art school’ commissioned by Octopus Books which is available internationally. Davis lectures expansively at universities, galleries and arts organisations across the country including the RCA, Firstsite Gallery, The De Le Warr Pavilion, ICA, Camden Arts Centre, UAL and many more. Davis has been a mentor for over ten years working for a-n, Artquest, Shape Arts, The Independent Art School, Plop, UKYA and independently.

Davis works within painting and installation and has exhibited nationally and internationally in a wide range of galleries as an artist. Her work is held in a number of private collections and public collections including Soho House.

To know more about Rosalind, take a deeper dive on her website or follow her on Instagram under @rosalindnldavis