Working Class Creatives Database
The arts organisation and community confronting class-based barriers within the creative industries.
Working Class Creatives Database started when I was in my second year of uni and Seren had just graduated. She studied art at The Slade and I studied art at Central Saint Martins. I think both of us realised that our peers were very different from us. A lot of them were financially secure enough to take on unpaid internships and not have a job which allowed them to sustain a creative practice outside of uni. Whereas we had to take on jobs and we didn't have networks or connections to lead us into the industry.
It initially started as a website and platform on Instagram to connect working class creatives across different disciplines and highlight what we’re doing so that we could grow our own network of people. We realised that having a network is probably one of the most important things in the creative industries.
We formed into a CIC in 2021 because we realised that it was important to reinvest any funding and money we get back into the community, and we’ve grown from there. Luckily people have come to us to propose working together in partnership, and through this, we’ve been able to do various things like workshops, talks panels, exhibitions and parties. The way we’ve grown has been really organic,with a lot of members self organising events too, I think because there is a need for it.
How do you define the Working Class?
We get this question often. I think it’s understood differently through different generations. For example, pre de-industrialisation, the working class was associated with manual labour. But now it also covers precarious contracts and it’s not just financial - it’s your cultural capital as well. We used to have a definition on our website but I think ultimately it’s about what you have to fall back on if you're not in work, do you have room to fail, assets to inherit, or support networks be that family, friends or knowing people in the workforce . What networks do you have to pull you back up again? We do leave it as an open ended thing now as we were getting quite long, personal statements from people and ultimately, we’re not the class police and we cannot define one persons experience from another. Ultimately you won’t benefit from our work if you’re not working class so it doesn’t make sense to vet people within a model which is led by community action.
It’s free to sign up and be a member and you get a profile on our website which allows other people from organisations to reach out. We’re really keen to grow our relationship with members in order to put them forward for opportunities and be able to curate really meaningful events and exhibitions by knowing people's work personally.
Tell us about the kinds of projects you facilitate within the community and who are some of your key partners?
Initially it was a lot of online events because we started in COVID. We’d do reading groups and show-and-tell sessions. We translated that to in-person so people could meet up and hang out. Individual groups might get together and put on a show or exhibition. Then we have the projects that Seren and I lead. When partners get in touch we’ll choose members from the database to be part of the event. We’ve had various exhibitions and events. I always go back to the one we did in Hull which was an exhibition of artists from across the UK which also included film screenings and talks and it got one of the highest engagement stats for an area of low engagement. Outpost in Norwich was about the precarious nature of having a studio or space to work. An exhibition recently in Leeds ran through how the working class is understood through different generations. We’ve done spoken word nights and panel talks on class. So a big variety of things!
One of our focusses is to take our members on a journey of development. We showed one person's work in the Hull event in 2023 and then sold their work as an ‘edition’ where 50% of the money earned goes to the artist, 25% to the CIC and 25% to a grassroots organisation of the artist’s choice. Then we followed that up with a bigger exhibition in London, and that artist has now gone on to study at the Royal Academy. The idea with our sales model is to create a model that trickles down to communities that need help in different ways.
We did a series of residencies with Art House in London. We had lots of artists take over the space, develop work and then go on to have solo exhibitions. We have a talk that we deliver on DIY-ism. Me and Seren built the database out of need but it’s continued because of everyone joining in and growing together. Whenever we do access sessions, we talk about how individually we might not have the tools but collectively this is how we can thrive together.
What is the support like amongst the larger institutions?
I think because we grew our online presence quite organically, the bigger institutions found us from there and wanted to support. Institutions starting to recognise protected characteristics has made people reach out more which is good. They’ll be looking to employ people from those backgrounds to diversify and we’re a way to connect them. I’m not sure the root of institutions is changing, but I think the types of people getting into jobs are. The nature of being in the creative industries is so difficult because you’re working contract to contract and you don't know if you’ll be taken on long term. That’s where having a support network outside of those major institutions is so important. We share opportunities around and recommend each other for work.
There’s something quite radical in imagining things that exist outside of institutions. It’s the institutional brand name that makes you feel validated but what if validity just comes from being really good outside of those spaces. You manage to do that by working with people who do great things.
Some of our members are very anti the big institutions which I completely get, but the reality is that in order to break into the art world properly, it’s going to be very hard to continue without money coming from somewhere, which is why we’re keen to pool resources and welcome people in to help out and chip in where the have the capacity to do so.
I did a talk the other day and I was really transparent that it’s really difficult. Especially being in Hull where creative opportunities are so slim. I’ve found myself doing a lot of workshops as a freelance facilitator just to keep things going, and when I was studying art that’s obviously not what I imagined ‘an artist’ to be and this community/facilitation work can be exhausting, especially when it’s alongside full time work, and directing a CIC. Monetising something that you really enjoy doing isn’t always fun, so you have to be transparent about that, especially for people thinking about careers. But there are so many roles out there, and doing a multitude of things can help you build skills and advocate for yourself, which feeds into what you want to do.
We’ve been gathering testimonials and the impact that we’ve had across the UK made me well up! We’ve been able to bring people from places like Hull and Sheffield and Cumbria together. But we’re also able to spotlight venues and galleries that wouldn’t otherwise have the same reach - Sunnybank Mills is a hugely successful example of that. We’ve helped people get a portfolio together in order to go to university, get funding for their practice and secure jobs.
How can working class creatives combat feelings of isolation or imposter syndrome?
We always say be cheeky. If you don’t ask, you don’t get. If someone has space, ask you if you can use it. Swap resources. I think looking for mentors is really useful too. Just showing up for each other - putting your mates name in the room and hoping the same will come back. It’s difficult because all of this stuff takes a lot of energy and people have lives and jobs outside of it, so taking a break when you need to is important. I think with social media, it feels like a race to be the best but it’s okay to have a diverse portfolio. You might have another job but that’s just as valid as you as a musician or artist as well. It’s not a race to do something by a certain age. You're in it for the long run.
What are some of your proudest moments through the Working Class Database?
I think engaging people who wouldn't normally be engaged with the arts and seeing the testimonials and the impact we've had on people’s lives. Considering we do a lot of this on a voluntary basis, the impact of what we’re doing is what keeps us going and makes us the most proud.
We did a film screening in Hull by an artist called Sam Batley. The film’s called One Day At A Time and goes through the journey of a rehabilitation community centre for men with a focus on creativity. We showed it as part of our exhibition programme with 87 Gallery in Hull, which is near a House which provides accommodation and support to homeless individuals in Hull, many of whom have just come out of prison. To have that film shown to a nearby audience, and help them be able to see that there’s a sense of community, and the power of art, felt really important. Things like that really mean a lot to me. Community, cohesion and inspiring people who might not have access is important to me.
Finally, what are you listening to at the moment?
I’m going through a bit of an Aldous Harding phase at the moment!