How to make money as an artist and travel the world, according to Bella McGoldrick
Image via @bellamcgoldrick/instagram
Words by Lara Daly
“I saw that the gallery wasn’t run as tightly as I would be running my own business, so I wanted out.”
Have you ever stalked someone on LinkedIn and wondered how on earth they managed to land that job? While the internet and social media might have us believe our ideal role is a mere pipe dream, the people who have these jobs were, believe it or not, in the same position once, fantasising over someone else’s seemingly unattainable job.
But behind the impressive titles and fancy work events lies a tonne of hard work. So what lessons have been learnt and what skills have proved invaluable in getting them from daydreaming about success, to being at the top of their industry?
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Welcome to How I Got Here, where we talk to people who are killing it in their respective fields about how they landed their awe-inspiring jobs. We’re exploring the peaks and pits, the failures and wins, and most importantly, the knowledge, advice and practical tips they’ve gleaned along the way.
This week, we hear from Bella McGoldrick, a Kiwi-born, Byron Bay-based artist known for her glamorous, photorealistic still life drawings. Bella found her artistic niche early, while studying fashion design at university in Melbourne where she began drawing designs on runway models. Like many freelance creatives, she then had to figure out how to earn a living from her artistic talents. Luckily, she had an innate knack for the hustle.
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Instead of following the traditional route of going to art school and trying to get in with fancy galleries, Bella trusted her instincts and focused on social media. Her fashion illustrations became a cult hit on Instagram, earning her enough money to move to New York City when she graduated. Eventually, her commissioned work started earning enough for her American husband, Tyler (also an artist), to also quit his job and join her in a fully-fledged art business.
Everything was rosy, until one day she got deported (and permanently banned!) from the United States for working under the wrong Visa. It’s a long story – one you can read all about in her new book, Visa Issues, which she launched this month in Melbourne, along with a new art collection called ‘Let Them Eat Cake’.
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Hi Bella! Congrats on the launch of your book, Visa Issues. For those who don’t know, what exactly do you do for work?
I’m an artist, which I guess is a self-proclaimed title and it took a bit to get used to when I started out. I make photorealistic drawings of mostly modern still-life subjects with coloured pencils.
Take us back to when you were first starting out. Did you go to art school?
I studied fashion design at RMIT University, straight out of high school. I was tossing up whether to study fine arts or fashion, these two subjects in school were my best. Being accepted into the fashion course made my decision for me. I became single-focused on becoming a fashion designer. However, throughout university, I drew and sold fashion illustration portraits. They drawings looked like the people who commissioned them but more glamorous, like a runway model. They became sort of a cult hit and I made a bit of money from it – enough to move to NYC when I graduated.
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I moved away from the fashion illustrations while working at various fashion jobs in NYC but when I found myself between work, I decided to pick up the pencils and see if I could make some money from them. I posted on Instagram that I would draw whatever anyone wanted for $100 and the orders started to come in. I started small and with objects I mostly found around the house. Bit by bit, I felt more confident to make larger works and ask for a higher price tag. Enough to make a living and then enough for my husband to quit his job and make the art business both of our full-time jobs.
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That’s incredible. What challenges have you faced getting to where you are now?
I had gallery representation for a while. While it was great for widening my audience, I don’t think it’s necessary for young artists. The industry makes it appear like it is. I was locked into my contract with them, and they made it ugly to try and get out. That would be the first piece of advice—to negotiate contracts no matter how small or start-up you are.
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About three years ago I became independent and it’s amazing. I saw that the gallery wasn’t run as tightly as I would be running my own business, so I wanted out. Of course, it’s scary to break off, especially when everyone is telling you how much you need a gallery. I can say now that you really don’t. With social media, it’s crazy the reach I’ve been able to have, I don’t necessarily need a physical presence. I just make sure my online one is top tier and people are comfortable buying art like that.
What do you want people to know about your industry?
The industry is intimidating and it’s by design. I want to remove the middle men and work directly with clients and customers. I think today this is far more realistic for young artists and collectors, to go directly to the source. Intimidating galleries are silly and I don’t like the opaque nature they work in.
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What’s the best part about being an independent artist?
I don’t know if a job could be much better and I’m aware of my privilege in saying that, but it’s super ideal. I no longer take commissions as I’m able to draw what I want and sell it. That might have to be the coolest part. I can make whatever I want, whatever I feel inspired by, whatever size and so far there’s someone who’s interested in acquiring it.
I also work with my husband and it’s given us both a single goal to work on. We’re both creatively fulfilled. Both work from home in a room over from our twin babies and travel when we want to find inspiration for new collections. I know this might sound all a little honey-coated, but at this current iteration, it’s pretty damn good.
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What would surprise people about your role?
Maybe that I don’t work with a gallery. That I choose to do everything in-house and I have more success that way. Also, my fingers don’t get sore. People often ask if I get hand cramps, but with this style of work, I draw so lightly that it’s never an issue!
What skills have served you well in your industry?
For sure confidence, which I’m not sure is a skill or just a trait but it’s been key in going off the mainstream course and trying something for myself. I felt pressure to go to art school, again to work with a gallery, but I gave it a go on my own and it’s worked out so far.
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I am also super client-facing and client-oriented. I think that’s a bonus about selling online – can speak to everyone who reaches out. It’s a direct conversation between artist and buyer and there’s value in that. Every message, every moment of contact matters hugely. Lastly, I’m not a perfectionist. I work on the motto that ‘done is better than perfect’. I get things going quickly and iterate as I go.
What advice would you give to someone who wants to be in a role like yours one day?
Firstly, start producing work and sharing it. It doesn’t have to be perfect just get it out there. I think there needs to be more of an emphasis on starting small. I gifted my portrait fashion drawings in the early days and then their friends wanted one. Then their friends friends came asking. I never shied away from charging, either.
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Art is a job. Money makes it legitimate. Otherwise, it’s a hobby. Which can be cool too. But if you want to make art full time, then it’s very important to learn how to make money from it. Giving 50 per cent away to a gallery can be good but if you can do so without, then that’s even better.
What about a practical tip?
It’s amazing how good you can get at something when you do it for eight hours a day. Pick your thing, do it all the time and you’ll get good enough at it that you can make a living.
Follow Bella McGoldrick here.
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