The Starving Artists Founder Rachel Loh On Creative Industry Woes
e.g. the new Coronavirus potentially affects her freelance schedule…she shared on Instagram why
The Starving Artists.
From reading and talking to people, I realised people have low tolerance for each other. Grew up realising intolerance comes from a lack of understanding. Felt like there was something more I could do for the community to speak to each other, learn more.
Until two months ago, I’ve been freelancing, could only think of survival. Went to events, exhibitions, would watch panel discussions, meet-the-artist sessions; go home feeling nothing. Ideas were repetitive, only scraped the surface.
In Singapore, there seems to be divide among art, artists, the general population.
[Spaces like] The National Gallery feel like a fortress. No one gets to know more beyond artists’ names, short descriptions.
With The Starving Artists, I wanted to break down barriers in art. It’s organic. Everyone feels like they’re on the same “level”. There are no stupid questions.
Events include:
- A take on the networking session where people can bring paint equipment to a park and use painting as therapy. It’s a safe space for creatives to speak casually.
- Artist of the month. Usually to exhibit work, you have to go through difficult procedures. It helps when you’re connected, so the same people always get chosen.
- Meet the artist where everyone gathers for tea and snacks and ask the artist questions they’ve always wanted to ask, un-Google-able stuff.
- My answer to panel talks. We use research papers, books to create a classroom feel. People come prepared to discuss the topic of the month.
I want it to feel two-way. The community should feel like they’ve a part to play.
Underrepresented artists.
I have to hit KPIs (Key Performance Index) when I submit works or try to get grants. It’s frustrating. Why can’t you just look at my work? It’s such an uphill battle that someone’s art may change to fit briefs. It dilutes it.
I hated school. For a lack of better description, I’ve an aversion to mainstream. Disliked architecture, agency life (was made things I didn’t want to do).
Knowing what I disliked gave me the assurance to create something authentic.
What I really want to achieve with The Starving Artists is for connections to be forged genuinely.
It’s only been 2 months?!
Started planning in November, marketing in December, first edition in January. Had very low expectations. *laughs* Maybe that’s why I feel so good about it. I wanted everyone to connect and have a genuine experience; I think they did. We all made plans to connect again.
Moving forward, I want to partner with spaces overseas to bring underrepresented Singaporean artists elsewhere. I want to open a freer artist residency where artists are always coming and going.
Listen. Everyone has their turn to speak. It’s not a debate.
Similar platforms to The Starving Artists.
- Input Output, gallery space for underrepresented artists
- The White Pube, started by two art critics in London who critique institutions through memes or articles
- The Creative Independent, a resource hub on how musicians are doing, how to get a visa as an artist, etc.
Are artists really starving?
It’s not just monetary. It’s yearning about something so integral to you you can’t let go. You’ve to sacrifice having a house (maybe), CPF, travelling often.
Comments.
Mostly positive. Someone commented I keep using Western art on our Instagram page. I use them mainly for memes (looking at art in a non-elitist way) because to me it’s always been quite elitist in that Western art view.
Is there still a purist idea of an artist?
With social media, there’re a lot more people calling themselves artists, which is fine if you’re doing good work. When it’s commercial it gets grey; my idea of an artist is to create work to connect, it’s a deep motivation.
On the other hand, people look down on “clickbait” art, art that appeals to masses. But it’s still art; better if you don’t have to travel to far places to appreciate it.
Infighting.
With recent incidences, it’s been about not listening, not letting anyone speak but you, privilege. It’s problematic. Artists segregate themselves, which is good because it builds community, but it’s hard because they don’t speak to others.
