© Monster Chetwynd, courtesy Sadie Coles HQ, London. Photo: Mathis Altmann
I want to pursue my creative passion project, but it always ends up at the bottom of my to-do list. After work and socialising, there seems to be no time left in the day. How could (or should) I reconfigure my priorities?
I have to be frank: you need to sacrifice the socialising. No one can burn the candle at both ends. There are periods of time when you choose to be creative. This is a cold truth.
Whether you are a student or tycoon, art professor or first-time visitor, the front-desk staff of a typical Mayfair commercial gallery will studiously ignore you when you gingerly open the door, perhaps offering a subtle sigh if you ask a question. And, of course, they are always better dressed than you. What is the optimal way to enter one of these galleries? From a wannabe Jay/Larry/Sadie/Victoria
In my opinion, intimidation is a form of insecurity. I never want to intimidate anyone. It is important to know your politics, and to understand the reason why the game of intimidation and elitism is there in the first place. Remember that you have graduated from the school of charm, and they have not. My mother always said: ‘Check your flies, smile, and go on...’
I’m having some relationship issues and am in desperate need of distraction. Are there any films, television programmes or books you would recommend to help mend my broken heart, or just keep me occupied?
Without a doubt, reach for The Count of Monte Cristo by Alexandre Dumas. Not the film, but the book.
I want to get more feedback on my projects, but I hate the idea of imposing my work on other people – especially friends. How can I get my work out to strangers who actually want to see it?
What I call sounding boards – friends or colleagues with whom you can exchange meaningful conversations and discourse – are invaluable. The avant-garde community in the Left Bank of Paris was a clear example of this. I have my troupe. Artists need their community more than food or money. I think you need to learn how to recognise this critical facet of your relationships. Ideas may be confrontational and difficult to digest sometimes, but constructive exchange is always a good thing.
A friend recently told me about a job she was excited to apply for. We work in a similar area of the creative industries, so I looked it up after the conversation. It’s kind of my dream job, and I’m probably a bit more qualified for it, but I know it would hurt her if I got it. Should I put the relationship or career first?
Some of my troupe jokingly spouted out in response to your question: ‘Jesus loves a winner!’ The reality is different. We all know that it is lonely at the top. Another member of my troupe added: ‘Things come back to bite you!’ I would put the relationship first. This is not a dilemma. On the other hand, if you recognise that you are not filling your boots where you currently are, then be more ambitious and make a self-initiated project. Do something that makes you feel that you are not sitting on the sideline. Let’s get you on track to the dream job you mention in a way that doesn’t turn you into a capitalist meanie!
I have been invited to a fancy-dress party by my arty friend, but I don’t have a clue what to wear. Can you give me some tips for where to find inspiration?
I would recommend the classic shops that already exist for Halloween and other festivals. They are full of surprises. If your local town is not forthcoming, I highly recommend travelling to Glasgow. I would also recommend you take a quiet soul- searching moment to consider your heroes. For example, I love Yondu from the Guardians of the Galaxy films. Who would you like to be in the escapist zone that the party offers?
Send your cries for help to tate.etc@tate.org.uk for a chance to be featured in the next issue.
UNIQLO Tate Play: Monster Chetwynd, an immersive theatrical installation for all ages, will be in the Turbine Hall at Tate Modern, 19 July – 25 August. In partnership with UNIQLO.
Monster Chetwynd’s A Tax Haven Run By Women 2010–11 was purchased in 2017 and is currently on display in Performer and Participant at Tate Modern.
