Ellie Rees
Video ArtistCould you give a brief overview of what your various working roles are?
I work as a video artist, exhibiting internationally. I lecture in Higher Education. I undertake one-off projects in schools and galleries and other organisations. I work with adults with severe physical disabilities and learning difficulties. I work in opera set design. All of the above are in my capacity as a video artist and I always use the medium of moving image as a vehicle for the work.
Was it always your intention to make your living through a number of different activities, or did you find that it was the only way for you to support your practice?
It began as the only way to support my practice but I now see my artistic career as holistic, combining all the different things I do as beneficial to my ‘studio work’. All the other influences enrich my own artistic practice and keep things interesting. I wouldn’t be happy only doing one thing.
If you do have to take on work that supports your practice, how is your time divided between the two roles? (i.e. how much of your time would you say is spent on the money-earning role, and how much is spent on the ‘real’ role?)
I don’t see one as ‘real’ and one as only money-earning. If I work with 15 kids who have autism I approach the project in a very similar way as if I was working with a dancer and choreographer on a new piece for exhibition. I am employed within external contexts because of the work I make. Of course there are some differences and time wise I would say it’s pretty much fifty/fifty, studio/education work.
How secure are you, or do you feel, in the way you work?
Depending on the week, month, year, I feel I would answer very differently. At the moment, very good: I’m busy and involved in a few exciting projects. Two months ago: utterly demoralised. It’s a feast and famine career.
What’s it like juggling more than one role?
I feel very comfortable with it now, but it’s taken a while to settle and find an infrastructure for my professional life that suits me personally. It’s almost never boring.
When you first started out, what was the first step you took?
I found a residency that provided me with post-production equipment I couldn’t afford to buy so I could continue making work. I also took a part-time job at a cinema because it had flexible hours and I could work in the evenings and have free days to make art-work and applications etc. I made many applications for competitions, open exhibitions and residencies in my first year out.
Was it deliberately thought out?
To an extent and I gave myself solid goals. I learned pretty quickly what I did and didn’t want to be doing. Very clear ones such as: I want to be teaching in HE in one of the London art colleges and have had my first solo exhibition in the UK before I’m 30. I was 25.
How do you deal with the practicalities –e.g. how did you find out what to do about things like tax etc.?
Friends in a similar position a little bit ahead of me. Artist’s networks like Artquest and Artsadmin.
If you had to pick out one good bit and one bad bit of what you do, what would they be?
Bad: Financial insecurity and generally a lack of disposable income. Good: I spend almost all my time involved in art. It’s inspiring and exciting and intellectually challenging. I have almost complete autonomy over what I do. I collaborate with really talented and experienced people in other art forms as well as the visual arts. I’m never in the same place at the same time and I get to travel a lot. Life is very interesting and rarely dull.
Would you have any advice for someone considering embarking on a "portfolio" career?
I don’t really think that anyone in Fine Art refers to this as a 'portfolio career.' I think it’s a little out-moded as a term. But a holistic approach to your practice that includes many different strands, I would certainly recommend. Yes. Follow your own enthusiasm. Trust your instincts. Don’t work unpaid unless there is a very specific and relevant benefit to you personally and professionally.
