Professional Module: Working Internationally

Yesterday entailed a session into the international possibilities of working, particularly in art and design. It was pointed out that "working internationally" wasn't simply defined as working abroad. It could mean a number of other things in the sense of being a UK citizen, like:

• Working for a foreign-owned employer in the UK
• Working for a British employer overseas
• Working outside of your home city

We also looked at companies such as Thorntons (started in Sheffield, then expanded from there over the decades), Clarks (founded in Somerset, then expanded to an international scale where they even sell through third-party distribution). I even considered Boots as a side note, due to a friend who works as a buyer for them, and has thus travelled abroad on their behalf.

This lecture then boiled down to the inexorability of the global dimension, especially if I was pursuing a career in art and design. So, I've been left to consider what my international options are. It's not like I haven't before, though. There are companies out there whom I'd like to work for, but they are big leaps:

• AllofUs, when the opportunities arise.
• United Nations, provided I can put myself across as an "exceptional individual," as I've frequently been told.
• And a few others.

The question was raised about the feasibility of working outside the UK and how many students travel abroad for work. It was pointed out that 3% of NTU graduates ended up working as such. Even then, 1.5% of that turnout were UK students working abroad, the other being international students returning home. This may seem small, but if the numbers for the NTU population are around the same as 2011/12, that equates to roughly 800/900 individuals taking up their careers abroad. 

There's also the issue of language barriers. But in this discussion, it was claimed that this is not such a big problem. Education (especially higher education, which is a big international business that one can work into), design and IT are said to be unrestricted to English-speaking countries. One can even teach English abroad, without a degree in English or a modern language. 

However, I think it would be twice as useful to know another language, because while English speakers are not as impaired in their career paths by language barriers abroad, knowing another language still opens up more doors of opportunity. Throughout my time at NTU, I've taken to learning French on and off, and plan to pursue it further after this course. French appeals to me, because I find it easier to pick up as opposed to other languages. Plus, I really like French films. 

This is all a rough outline for my options outside of the UK (or just Nottingham), but I tend not to put too much detail into it. I still have a lot left to do in Nottingham first, like my work with the Surface Gallery. 

Professional Module: Personal Brand

I was a little frustrated and impatient in this one, but then that's two hour long sessions for you. This was a lecture and a workshop into defining yourself and your image in the professional sphere of creativity; be it fine art, design, photography or anything else. By then, I had my artist CV in the works, and a working image/symbol to give myself a professional identity. Yes, I was studying a master level in interaction design, but I still largely define myself as a practitioner in the contemporary arts, hence my delving into the interactive arena of that practice.

Anyway, we looked at a few usual suspects like Apple and Nike, whose brands you'd now recognise without even being told the name of the company.

Here, we need to consider what a person communicates when wearing a brand or using a product of one, which I think goes hand-in-hand to identifying the personality of a person based on their fashion sense.

Here are a few images for a brand, for my artist/designer CV, my website when I get it up and running, and business cards (doodled during the lecture):

I have a thing for eyes, and the Eye of Providence in particular, even though I don't necessarily have the outlook of a Mason. The significance of eyes, to me, draws on that of the beholder and what one perceives. Given that my aspiring career follows the art/design route, I've deemed a lot of images with eyes quite fitting to symbolise the perception of my own work - I appreciate those who LOOK. Even if they don't like my work, at least they looked and made their own perceptions.

I haven't done a final brand design yet, but these are a few ideas knocking around.

Professional Module: Entrepreneurship

Playing catch up from last week:

Entrepreneurship

Now, this was an interesting lecture on the entrepreneurial mind-set. It delved into what the entrepreneur is. There were some good discussions and insight into the likes of Bill Gates, Steve Jobs, Duncan Bannatyne, Richard Branson. We looked into how they all started out, what risks they took, what setbacks they went through in their business endeavours, and the factors that contributed to their success.

We also delved into the 10,000 hour syndrome, or the 10,000 hours of practice, where it is claimed that it takes such an amount of time - equating to 5 years - to achieve mastery in a chosen field.

I find the note in the link about "natural talent" curious, and it reminded me of a discussion I once had about "natural talent" vs. "rigorous practice", to which I believe both compliment each other. But then I wonder about the savants who display exceptional skill in something, to the point beyond normality, like playing a violin, solving a complex mathematical problem in minutes, or painting an exquisitely detailed picture. Granted, this is a neurological occurrence. But would it also be due to genuine interest? Would I, by now, be competent with coding, had I applied at least two hours a day to learning it? I doubt it, because I'm not *that* interested in doing so. And I've tried to. I just like the results they often yield, but I often dislike doing the footwork.

Anyway, the lecture also drew insight into Shed Simove - a performer, author and entrepreneurial mega-troll. He made the iNotePad - an actual notepad that resembled the iPad, which pissed off Apple. He also launched a book called 50 Shades of Grey - a book that literally contained fifty various shades of grey, which also annoyed the publisher of E.L James' best-selling book that it was named after. Unconventional he may be, but successful in his own unique way, nonetheless.

The lecture also covered contact with the Hive - NTU's enterprise engine for entrepreneurship, which would prove very useful if I ever come up with a business idea of my own. In terms of my own art practice, however, I'm not sure how they might help.

Ultimately, this lecture boiled down to the defined features of an entrepreneur, they are, as this lecture goes:

• Self-Motivated
• Ridden with high needs for achievement
• Assertive
• Willing to take calculated risks
• Independent and innovative
• Often "misfits" in their society

An entrepreneur is largely defined as "someone who takes risks to create a new process."

Professional Module: CV Template, Work and Artist

Here are two templates that I am currently working with, both as a default for prospective employers and art galleries (should I end up deciding to take up a studio residency or commission). 

Work CV template:

I have worked with this template for years, even though I have not had to use it very much in my applications to past and current employers, usually due to an application process, but it has also helped me to refer to key points of my professional career path.

The major change I would put to consideration involves the reference section, as this would add a great deal more of space to my second page, and prospective employers can still have this information upon request. But then this would also depend on the employer that I've applied to, as name dropping certain people within the same company, for instance, will do the applicant some favours. 

Artist CV

As far as I have it sussed out in my head, this CV was made for the purpose of selling myself as a freelance artist and designer. Nearing the end of this course has compelled an assessment of all that I've done in the art world, and where I need to take it next, and this Artist CV is the first of my endeavours for the latter: converging it all to a selling point and getting myself onto more creative projects and commissions as a practising artist. It is a CV will require more construction as I go along, which will then be accompanied by a portfolio, website and wad of business cards. 

Professional Module: CV and Cover Letter workshop/discussion

I am returned to the last dregs of this MA course, and as a result find myself to be in a bit of an existential limbo. However, I do feel that this will be the most important and informative module. Now that the thematic contents of my project are out of the way, we are being told to highlight our plans for the future, professional world. In my case, this would involve the world of visual arts and design.

The module was started off today with an insight into the very basics of making a CV, which I admit was a step above the mediocre, mandatory workshop at a job center in a doomed town with no prospect. It was slightly more interesting, because it was tailored towards creative students.

Anyway, to recap on some particular aspects of the lecture:

Covering Letter

What is a Covering Letter?

• This is a professional business letter that demonstrates one's career interest and highlights relevant strengths and experiences. 
• It selects key aspects of your CV and matches them to the needs of your potential employer. 
• It introduces you to the reader and should stimulate interest to your application. 
• It should show real interest in working the specific job that you have applied for.

What should a Covering Letter contain?

• As an opening, it needs to say whom you are for a start, state which job you are applying for, where you spotted the advertisement (if it was an advertised position).
• You should explain in the main body why you are interested in this particular job, evidence your knowledge of the company as well as your interest into the contents and nature of the job.
• State previous experience, special skills and interests and knowledge that make you suitable, referring to selected experiences on your CV.
• At the end, indicate your availability for interviews, then close politely and positively.

Tips

• Always send it to a named person and not a title. Ring if necessary.
• Keep it brief and to the point
• Research the target company and tailor every application to the specific company and role
• Consider "why you over the hundreds?" and "what's in it for the employer?"

Things to avoid

• Cliches that suggest a lack of imagination and independent thought e.g "I think I can honestly say..." and "May I take the liberty of..." 
• Negative aspects e.g "Although I am only 19..." 
• Imprecise words like Quite, Fairly, Almost etc.
• Generalisations and unsupported claims e.g. "I am a good team player."

CV

This was a very basic look into the structure of the CV, what it is (Curriculum Vitae - Latin for "Path of Life"), how you structure one, examples of various templates and what you should/shouldn't include. This will be highlighted in the next post with my own example template. The generally agreed structure of a CV in this session was the one I was already using. 

IxArt - project outcome recap

It's the 1st September, which marks the beginning of this MA study's last element: professional report. But before I start writing about this, I want to highlight some of things that have occurred during the my third module: the project outcome.

Coniglio Trial, Bohunk Institute

July was a fairly stressful month, and I don't refer to workloads, here. A couple of days before the private view of the Open 2014 at Bohunk Institute, the gallery space was burgled. The culprits didn't take a great deal of many things, but unfortunately, the MacBook Pro that I had borrowed from the university was one of the items taken. This greatly affected my work, and there was very little time to make amends for this upsetting. So, I had to cancel my shift at work (7.30 til 19:45 - full 12 hour shift), in order to come in, give a police statement and use my own, slightly more rubbish Mac to get my piece up and running. It's amazing that I managed to do this before the private view, and it was generally well received, from what I've been told. Despite the slower quality of my own laptop's performance (a further incentive to invest in a newer one), one was able to notice the interactive nature of the piece. As I pointed out, the static side was not really acknowledged as such, mainly due to being out of site and facing the wall. 

Moral of that time, ultimately: when using a laptop for an artistic piece, invest in a kensington lock and don't leave such stuff loose in another building, even if others are adequately looking after it for you.

Tangible Projection

This endeavour was put on hold due to facility access and other technical, logistical difficulties. I highlighted in my documentation that the greatest issue with this piece was a projection mapping matter. The screen, I felt, wasn't the right dimension, and I should have been more considerate in this area. So, I intend to have another one made, which is more suitable for the mapping and, perhaps, transport. 

I did not submit this as a piece for the MA degree show at Nottingham Trent for several reasons, which I will highlight:

• Facility access - due to Bonington and Waverley being shut over August, I could not feasibly come in to experiment further and develop this in time for the MA show. Had they both been open. then it might have been a different story.
• The logistical requirements for an exhibiting space in the MA show meant that my piece, which is light sensitive, electrical and demanding of very specific dimensions of physical space, could not be accommodated. They were not friendly towards projections outright, which in my opinion was logistically unreasonable, especially as I know of the amount of rooms and space the Bonington building actually has.
• I categorically refused on principle, because I disagreed with the selection process on the work of MA students, who have paid upfront on their tuition fees. And yet, they are subjected to more worry and scrutiny of whether or not they get to show the outcome of their projects, which they have been extremely passionate about. So, on that principle, the university does not deserve to have my work displayed. I'll exhibit the ambitions of my creative practice elsewhere. This rationale might be seen as arrogant, but it is still unfair in comparison to undergraduate students, who automatically have an exhibiting space.
• There are other domains in which I could exhibit this piece to the wider art community, and highlight the interactivity of a tangible piece that a spectator can feel inclusive towards. It might even be a part of the next Light Night event, given my collection of contacts from the last one.

Summary

• Coniglio Trial was successful, albeit many a headaches, curses and setbacks, and may have gone to some lengths of answering my project question.
• Tangible Projection will not be exhibited at the MA Expo (Post-graduate Exposition), but will be pushed into the public sphere instead.