Ceri Hand, Photo by Lorna Milburn
text by Lara Monro
From running a successful commercial art gallery to becoming Associate Director at Simon Lee Gallery and director of programs at Somerset House Trust, London, Ceri Hand, also known as the Artist Mentor, is championing a more holistic support framework for creative practitioners and professionals through her mentoring and coaching services.
Lara Monro spoke with Hand about how her own experiences in the arts shaped her approach to mentoring and coaching, and why her upbringing instilled a level of responsibility in championing a more inclusive art world.
Growing up in the Midlands, Hand was introduced to the importance of social justice and the need to support others from a young age. Her mother established and ran women's refuges and her father taught children with learning disabilities. While Hand came from a multi-racial family who combatted racism by achieving great success in business and embracing family, music and dance, she was confronted by the realities of prejudice from a young age:
As I've got older I've realised just how lucky I was to be influenced by my parents and wider extended family. From a young age there was a sense that it wasn't all about me. We would have people coming to stay all the time; my cousins, women from the refuge and their children, and all sorts of lodgers. It is interesting to reflect on my multicultural upbringing, growing up in the Midlands in the ‘70s, where riots and racism have been well documented. My uncle, who came to the UK from Jamaica when he was a kid, tackled racism by becoming a successful businessman. I was around seven when I fully understood what racism was. I was very lucky with my family, we were never made to feel different from one another. I think this also instilled a level of determination for social justice. Then of course, I began my journey into the arts where the disparities in equality and inclusion became very apparent.
The Ghosts of Songs: A Retrospective of The Black Audio Film Collective, 2007, FACT
Curated by Anjali Sagar and Kodwo Eshun, Commissioned by Ceri Hand
Photo Brian Slater, Courtesy of FACT and the artists
After completing an Art Foundation course in Shrewsbury and art college in Bradford, Hand co-ran an artist cooperative called Quebec Street Studios before making her way to London where she secured an internship at Make, the magazine of women’s art. It is here that she met and worked with inspirational women such as Heidi Reitmaier, Althea Greenan and Nicky Hodge who shared her enthusiasm for exciting and diverse content;
Heidi, the editor of Make was from Canada and really wasn't bogged down by the nonsense of the North/South divide or class systems in the UK. Coming from the Midlands, this meant a lot. The team were also amazing in how they championed women artists, such as Alexis Hunter, Maud Sulter and Sonia Boyce, who at the time had not yet been recognized for their incredible talent. Boyce was the first Black woman to represent Britain at the the Venice Biennale, winning the Golden Lion and she was notably represented by Simon Lee Gallery.
Hand’s determination to showcase talent more representative of modern Britain continued throughout her roles in both the commercial and public art worlds. In 2007, when working as Director of Exhibitions at FACT Liverpool, Hand commissioned The Otolith Group (Kodwo Eshun and Anjalika Sagar) to curate the exhibition THE GHOSTS OF SONGS: A Retrospective on the Black Audio Film Collective 1982 - 1998 (touring to Arnolfini Gallery). Designed by David Adjaye of Adjaye Associates, it was the first retrospective to explore the significance of BAFC’s entire body of work exploring the personal and political in a new kind of international, experimental moving image work.
The Ghosts of Songs: A Retrospective of The Black Audio Film Collective, 2007, FACT
Curated by Anjali Sagar and Kodwo Eshun, Commissioned by Ceri Hand
Photo Brian Slater, Courtesy of FACT and the artists
That exhibition was one of my proudest moments at FACT. Not only was it the first time the seven-person strong collective were given an institutional show, I also worked with John Akomfrah, Lina Gopaul, and David Lawson on placing several works in the Tate collection, another first for a Black collective. Managing to bring Liverpool University Press on board as a partner to fund the book Ghosts of Songs, beautifully edited by Kodwo and Anjalika, including essays by Jean Fisher, Kobena Mercer and Okwui Enwezor, was also a huge moment in the realignment of understanding how Black archives were essential to readdressing history. At the time, it didn't seem like a major milestone, it felt like an amazing part of the job, but on reflection it was a big deal.
Hand’s working relationship with the Black Audio Film Collective (BAFC) didn't end there. In 2019, when director of programs at Somerset House, she commissioned Zak Ové to curate the landmark exhibition Get Up Stand Up Now featuring a showreel of pioneering works by BAFC. The exhibition spanned art, film, photography, music, literature, design and fashion, celebrating fifty years of Black creativity in Britain and beyond. Through cultural exchanges and collaborations across the African diaspora, trailblazing creatives such as Armet Francis, Dennis Bovell, Althea McNish and Horace Ové were acknowledged for their commitment to changing the consciousness of British society. These themes extended out from the galleries into the courtyard, through a stand-out Summer Series of performances and Film 4 Summer Screen line-ups. The exhibition was designed by award-winning Yinka Ilori and Horace Ové received an OBE in 2021, for his contribution to film.
The Ghosts of Songs: A Retrospective of The Black Audio Film Collective, 2007, FACT
Curated by Anjali Sagar and Kodwo Eshun, Commissioned by Ceri Hand
Photo Brian Slater, Courtesy of FACT and the artists
While Hand is grateful for the opportunities she has had to work with inspiring creative agents of change, she is also transparent about her personal battles, including the loss of her father, an uncompromising workload and gender prejudice, all of which over time resulted in serious health issues. After much research and exploration into different therapeutic options, Hand is a fervent champion of seeking out help and support at every stage of our lives, from therapy to coaching:
Back when I was pursuing my career, we dealt with the challenges of a heavy workload and daily casual sexism by working even harder and adopting a mask. I now understand what impact these forms of structural racism, sexism and classism had on me, my friends, peers, and my family. Now, I understand how the body keeps the score. It all makes much more sense. On reflection, I didn't get the support I needed. I would get sick so often; the physical side of my trauma presented itself as glandular fever and chronic fatigue syndrome.
Navigating her varied roles and personal battles whilst working in the arts, Hand began to recognize the lack of support systems available for creative professionals and artists:
I’d worked so hard, so relentlessly for so many years, then after a major, life-threatening accident in 2019, I suddenly realized I had been working against my nature and was on top of the wrong mountain. Having an understanding of the amazing jobs that so many commercial galleries do for their artists, combined with the support that public commissioning bodies offer, I had a range and depth of insight into the fundamental support that is missing for so many of us in the creative sector.
Since 2020, Hand has supported thousands of creatives through mentoring and coaching services, her free newsletter, Beat the Block, delivering coaching support direct to people's inboxes, free monthly In Conversation events with established creative professionals and her blog, Elevation, aimed at demystifying the arts and lifting others up.
Fresh Trauma, Ceri Hand Gallery, London, 2013, Co-curated with Rebecca Lennon
In December this year, Hand will launch her new self-study digital course, How to Price and Sell Your Work: 5 steps to successful sales, for artists who want to earn a living doing what they love.
And in January, she will launch a new online coaching program and community platform for mid-career artists. For Hand, it is about creating an ecosystem where she can use her expertise and that of her associates to nurture an international community of artists and creatives who feel fully supported as they navigate their journey, be it for creative or professional development purposes:
I want to encourage a spirit of generosity to combat the market driven meritocracy. I believe that everybody makes an important contribution, so I want to harness the community we’ve already built and champion a holistic approach to supporting creatives. You don't have to ruin yourself mentally and physically to have a successful career. Shifting how we think of ourselves, what we are capable of, and taking time to zoom out to acknowledge our own needs is necessary. I want to work with individuals to help them think about how we can change thought patterns and form new habits. But ultimately, I believe that creatives make the world a better place. We need them now more than ever to help us come up with creative solutions and to help us find joy along the way.
Ceri Hand, Photo by Lorna Milburn