Mentorship of arts graduates a lifeline for contemporary artists

When I graduated in 2005, there was a belief that if an art graduate could continue their practice for three years, and utilise their degree within ten, they could be classed as a success in the industry.

Two decades on, this is as challenging for aspiring creatives, who have already experienced the effects of austerity most of their lives.

Mentorship of any kind is not a common thing offered to arts graduates. Once you finish university, you are very much on your own. In the early days of my career, I was fortunate that my former lecturer, Simon Burton, was there to guide me.

Simon’s mentorship had a profound effect on me as an emerging artist. He believed a student should be nurtured both as a person and as an artist. His advice helped me navigate an often volatile professional environment –particularly within London’s artistic scene.

When I began my career in lecturing, I adopted the same philosophies he embodied in regards to mentoring.

On his role as a mentor, Simon says: “I tried to help students develop their artistic voice. Sometimes I believe I made a difference, at other times, the connections one hopes to spark simply did not take hold. Mentorship is a shared responsibility. The conversations often continue for decades.”

My mentorship was made possible by the relationship dynamic fostered between lecturer and student. However, this is not a typical outcome for the vast majority of students. Overwhelmingly, our education system still relies on the traditional model of producing an effective factory workforce.I do not agree with this. Now that I am a lecturer myself, I support autonomy, creativity and innovation in my students. The method I adopt is influenced by the Swedish model of teaching, characterised by an informal, democratic, and student-centred approach. It prioritises critical thinking, collaboration, and individual development.

My mentee University of the Highlands and Islands (UHI) Art and Contemporary Practices graduate Codie Anne, who has recently shown at the Society of Scottish Artists Annual Exhibition in Edinburgh, is testimony to this.

Codie says: “Frank was intense because he was always keen to push you to develop your work as far as possible, but he always made it clear what was expected of you. The way Frank taught classes every day felt like a mentoring session. He’s able to tailor himself to the needs of each student well.

“It’s important to have someone to believe in you and to help you achieve your potential.”

Another mentee is award-winning Glasgow School of Art BA (Hons) Fine Art graduate Amy Auld.

She says: “I have found life after art school challenging and liberating. I can’t be more grateful for having this mentorship with Frank. It’s still early days, but I feel much more driven to take my career in art seriously.”

Amy adds: “Having someone to ask when I’m unsure or to turn to for direction is probably the biggest asset to have for a graduate.”

I myself feel fortunate to have built an established career as a contemporary artist, and I have a strong sense of obligation to help the next generation. I see the role as mentor as fulfilling that responsibility.

As working artists, we accumulate knowledge and experience to further our goals and succeed in our profession. But for contemporary art to flourish, this should be shared.

Although I have had a successful career, it is time to pass my knowledge and experience down to the new generation.

My peers and myself will soon be the old guards, the gatekeepers – and, in some ways, monsters from a begone era. One day, it will be time for us to go, and for future Scottish art stars to take the lead.

Find out more here