How to make money as an artist and travel the world

“I saw that the gallery wasn’t run as tightly as I would run my own business, so I wanted out.”

Have you ever stalked someone on LinkedIn and wondered how on earth they managed to get that job? While the internet and social media may lead us to believe that our ideal role is a mere pipe dream, the people who have these jobs, believe it or not, were once in the same position and have confidence in the seemingly unattainable job of one dreamed by others.

But behind the impressive titles and fancy work events there is a lot of hard work. So what lessons were learned and what skills proved invaluable in taking them from dreams of success to the top of their industry?

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Welcome to How I got herewhere we talk to people who are top performers in their respective fields about how they got their impressive jobs. We explore the peaks and troughs, the failures and victories, 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 on while studying fashion design at university in Melbourne, where she began drawing designs for catwalk models. Like many freelance creatives, she then had to figure out how to make a living using her artistic talents. Luckily, she had an innate feel for the hustle and bustle.

Instead of following the traditional route of attending art school and trying to get into fancy galleries, Bella trusted her instincts and focused on social media. Her fashion illustrations became a cult hit on Instagram and earned her enough money to move to New York City after graduating. Eventually she earned enough from her commissioned work that her American husband Tyler (also an artist) also quit his job and joined her in a full-fledged art business.

Everything was rosy until one day she was deported (and permanently banned) from the United States because she was working on the wrong visa. It’s a long story – one you can read all about in her new book. Visa questionswhich she launched in Melbourne this month, alongside a new art collection called Let Them Eat Cake.

Hello Bella! Congratulations on the publication of your book, Visa questions. For those who don’t know, what exactly do you do for a living?

I’m an artist, which I think is a self-proclaimed title, and it took a little getting used to at first. I make photorealistic drawings of mostly modern still life motifs with colored pencils.

Take us back to when you started. Did you go to art school?

I studied fashion design at RMIT University straight after graduating from high school. I was debating whether I should study fine art or fashion, these two subjects at school were my best. Accepting the fashion course made the decision for me. I focused solely on becoming a fashion designer. However, throughout college I drew and sold fashion illustration portraits. Her drawings looked like the people who commissioned them, but were more glamorous, like a runway model. They became something of a cult hit and I made a bit of money from them – enough to move to New York after I graduated.

I drifted away from fashion illustration as I worked various fashion jobs in NYC, but while I was working in between, I decided to pick up the pencils and see if I could make some money from it. I posted on Instagram that I would draw whatever anyone wanted for $100 and the orders started coming in. I started small and with items I found mostly around the house. Little by little I felt more confident making larger works and charging a higher price. Enough to support himself, and then enough for my husband to quit his job and make the art business both of our full-time jobs.

This is incredible. What challenges did you face to get to where you are now?

I was represented in a gallery for a while. While it was great to expand my audience, I don’t think it’s necessary for young artists. The industry makes it look like it is. I was bound by my contract with them and they made it ugly to get out. That would be the first piece of advice: negotiate contracts, no matter how small or new you are.

About three years ago I became independent and it’s amazing. I saw that the gallery wasn’t run as strictly as I would run my own business, so I wanted out. Of course, it’s scary to cancel, especially when everyone is telling you how much you need a gallery. I can tell now that you really don’t. With social media the reach I’ve been able to achieve is incredible, I don’t necessarily need a physical presence. I just make sure my online offering is top notch and people enjoy buying art like this.

What do you want people to know about your industry?

The industry is intimidating and that’s by design. I want to cut out the middlemen and work directly with clients and customers. I think that today it is far more realistic for young artists and collectors to go straight to the source. Intimidating galleries are silly and I don’t like the opacity with which they operate.

What’s the best thing about being an independent artist?

I don’t know if a job could be much better, and I realize I have the privilege of saying that, but it’s super ideal. I no longer take commissions since I can draw whatever I want and sell it. That might be the coolest part. I can make whatever I want, whatever inspires me, no matter the size, and so far there is someone interested in purchasing it.

I also work with my husband and it has given us both a common goal to work towards. We are both creatively fulfilled. We both work from home in a room opposite our twin babies and travel when we want to find inspiration for new collections. I know that might sound a little sweet, but the current version is damn good.

What would surprise people about your role?

Maybe I won’t work with a gallery. That I do everything internally and have more success as a result. Plus, my fingers don’t get sore. People often ask me if I get hand cramps, but I draw so easily this way that it’s never a problem!

What skills have served you well in your industry?

Certainly confidence, which I’m not sure if it’s a skill or just a trait, but it was key to deviating from the mainstream course and trying something for myself. I felt pressure to go to art school and work with a gallery again, but I tried it on my own and so far it’s worked out.

I am also very customer focused and customer focused. I think that’s an advantage of selling online – I can talk to anyone who gets in touch. It’s a direct conversation between artist and buyer, and that has value. Every message, every moment of contact is of enormous importance. After all, I’m not a perfectionist. I work according to the motto “Done is better than perfect”. I get things going quickly and iterate as I work.

What advice would you give to someone who wants to take on a role like yours one day?

First, start producing and sharing work. It doesn’t have to be perfect, just get it out there. I think there needs to be more emphasis on starting small. I gave away my portrait fashion drawings in the early days and then her friends wanted one. Then her friends came and asked. I’ve never been afraid of charging either.

Art is a job. Money makes it legitimate. Otherwise it’s a hobby. Which can also be cool. However, if you want to pursue art full-time, learning how to make money from it is very important. It might be good to give away 50 percent to a gallery, but if you can do without it, that’s even better.

How about a practical tip?
It’s amazing how well you can accomplish something if you do it eight hours a day. Choose 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.