Word play and the serenity of printing are under discussion in this episode of An Art to It, when I'm joined by artist and maker Megan Fatharly. An exciting talent, Meg has won a deserved reputation - and fan base - for her witty and distinctive embossed metal work.

In a lively and honest chat we talk about Meg's relationship with place (Scottish beginnings, Cornwall now), her diagnosis of ADHD in her late twenties, and how art-making became both a way to process the world and a "capsule of process" she could return to when things felt too much.

Meg shares the behind-the-scenes truth of building a creative business: the push-pull between play and commercial demand, the exhaustion of systems and delegation, the emotional reality of visibility, and why success can feel strangely rigid when your work becomes known for "one thing".

We also discuss taking part in the trade show Top Drawer, the difference between that and a market, how audiences connect with the person behind the work, and a line that Meg wrote in her blog about showing her work at Top Drawer that stood out for me: "paying attention to where the work naturally wants to go, rather than where I think it should go to be more easily understood." I asked how that fits in with being an entrepreneur

We chat about:

• The pull of geography and "sense of place" in creative identity

• ADHD, hyper-fixation, and the relief of processes that slow the mind down

• Meg's love of printmaking

• Poetry, collage and using words to anchor ambiguity

• When your art becomes a business: contracts, VAT, systems and structure

• The tension between exploring new work and "will it sell?" mentality

• Visibility and boundaries: when people want to meet the maker

You can see Meg's work at https://meganfatharly.com/ and @printcessmeg

Meg very much admires: The Fabled Thread

Website: https://www.thefabledthread.com

Instagram: https://www.instagram.com/thefabledthread

Meg worked alongside the Institute of Imagination facilitating workshops.

Website: https://www.instituteofimagination.org

Instagram: https://www.instagram.com/instituteofimagination

Meg took part in Top Drawer with Cornwall Shop Small and Creative Kernow Associates

Website: https://www.cornwallshopsmall.co.uk

Instagram: https://www.instagram.com/cornwallshopsmall

Website: https://associates.creativekernow.org.uk

Instagram: https://www.instagram.com/creativekernowassociates

John was one of Meg's tutors during foundation and degree, and his open-access print studio remains an invaluable creative space in Cornwall.

Website: https://www.johnhowardprintstudios.com

Instagram: https://www.instagram.com/johnhowardprint

Celebrating 20 years as a beacon of creative excellence in jewellery, I'm delighted to be joined this week by Vicky Sewart, founder of Victoria Sewart Contemporary Jewellery Gallery in Plymouth, Devon.

In a lovely chat with Vicky we talk about what's changed in the jewellery world, and why, with a very clear vision of what she wanted her gallery to be, she "stuck to her guns" through recessions and retail shifts.

Vicky also shares how teaching has become a huge part of her creative life, the reality of navigating breast cancer just two years into opening the gallery, and why she's now embracing a fresh "next chapter" with mentoring and renewed energy.

What we cover:

• How the contemporary jewellery landscape has changed over 20 years

• Why Vicky chose "gallery" over "shop" - and what that means in practice

• Sticking to a clear vision (even when the market pushes you mainstream)

• The joy of teaching design-led jewellery

• Whether you need university to become a jeweller today

• The role galleries still play in a world of Instagram selling

• What Vicky wants next: lifestyle business, career business… or something she can eventually sell?

You can see the gallery at https://victoriasewart.com/ and on instagram @victoria_sewart_gallery

Vicky talked about the work of one of her gallery team, Rachel Darbourne whose work you can see @racheldarbourne, also part of the amazing team at the Gallery is @valmuddymanjewellery @kathleen.ashcroft.jewellery and @donna.burns.jewellery

If you enjoy An Art to It podcasts, please, please do follow us on Apple and help more people find us. It's really easy, open the Apple podcast app, go to An Art to It; the top three little dots on the upper right hand corner, touch that and it will offer you 'Go to Show' select that, you're on the home page, and then back to the three dots, select that and tap FOLLOW. Thank you v much!

In this episode of An Art to It, I'm joined by ceramic artist Carolyn Tripp for a very enterianting and thoughtful conversation about finding your voice, building confidence, and taking the long view in a creative career.

Carolyn shares her journey from advertising to ceramics, how loss shaped a deeply personal body of work, and why success in the art world often comes slowly - through consistency, clarity, and community rather than quick wins.

In this episode we talk about:

Finding your true creative voice later in life

How personal experience can become universal in your work

Why Carolyn describes her work as a "visual diary" of things she notices

The value of getting help with words, storytelling, and communication

Imposter syndrome - even when showing your work at a prestigious event like Collect

How previous careers can quietly support a creative business

Selling work through galleries and how collectors engage with ceramics

Why evolution in your work needs to be careful and considered

What success looks like when you play the long game

Carolyn also shared businesses that she loves for their brands and their authenticity: her local bakers @august.bakery_ and skincare specialist @drsambunting

You can find Carolyn's work at https://www.carolyntceramics.co.uk/ and on instagram she's @carolyntceramics

Carolyn is showing her work with the Cynthia Corbett Gallery https://www.thecynthiacorbettgallery.com/ at the Craft's Council https://www.craftscouncil.org.uk/ international event, Collect at London's Somerset House https://www.somersethouse.org.uk/ from 26th Feb

If you enjoy An Art to It podcasts, please, please do follow us on Apple and help more people find us. It's really easy, open the Apple podcast app, go to An Art to It; the top three little dots on the upper right hand corner, touch that and it will offer you 'Go to Show' select that, your on the home page, and then back to the three dots, select that and tap FOLLOW. Thank you v much!

In this episode, I'm joined by ceramic artist Sonya Wilkins, whose vessels are inspired by the natural world - particularly trees, woodland textures, and the quiet power of time spent outdoors. Sonya shares how creativity has been woven through her life since childhood, from early painting lessons with her father to discovering clay at school, and why ceramics became both a practice and a refuge.

Sonya also talks candidly about her "two pulls": a creative identity alongside an entrepreneurial streak, and how her earlier career in people development eventually found its way back into her work. A turning-point moment brought her full circle to teaching ceramics, and reignited her own studio practice.

We chat about the tension many artists face between commercial demand and soul-led making, how Sonya uses variety (and a range of price points) to support both creativity and sustainability, and why she sees Instagram as a visual portfolio rather than a creative prison. We also touch on other subjects close to Sonya's heart: Reiki, wellbeing, and Ikigai, and how she believes that all of these frameworks can help artists build a business that doesn't flatten their joy.

We chat about:

• How Sonya's father taught her observation - and why that shaped everything

• Fossil hunting, earth materials, and the "magic" of what's hidden inside rock

• Why clay became a companion, and why Sonya always needs to go 3D

• A "pre-art" career, and the confidence rebuild that brought her back to making

• The commercial temptation: growth vs. conveyor-belt creativity

• Trees as muse, symbol, and subject

• Her MA at Bath Spa University https://www.bathspa.ac.uk/

• Client stories, significant trees, and creating vessels that hold memory

You can see Sonya's work at https://ceramicsinspiredbynature.com/ and on instagram @sonyawilkinsceramics

2026 - and series five - kicks off with An Art to It's first ever transatlantic episode: this week I'm joined by gallerist Liz Lidgett of Liz Lidgett Gallery + Design in Des Moines, Iowa. https://www.lizlidgett.com/

Liz shares how growing up with a free local museum - and a grandmother who bought her art lessons every Christmas - shaped her belief that art should be for everyone. After studying art history and working as an in-house curator for a major corporate collection, she left the corporate world after exactly one year to become a freelance art advisor before opening her own gallery in 2019… just months before the pandemic.

In our lively chat we talk about how being based in the midwest - rather than LA or New York City - gave Liz the space to experiment with selling art, and how Instagram and lockdown turned a her local gallery into a global business. and why Liz treats her gallery as her biggest artwork – built on joy, ethics, and a strict "no jerks" rule.

Inspired by her belief that art really IS for everyone, 2026 sees the launch of Liz's book, Art for Everyone where she demystifies buying, hanging and living with art for people who "love art but don't know where to start." It can be pre-ordered now on Amazon.

In this episode, we chat about:

• Why being in the "overlooked" Midwest gave Liz freedom to play, make mistakes and experiment

• Moving from art history and corporate curation into art advising - and what she learned from seeing behind the scenes of galleries.

• How her Midwest gallery now ships to all 50 US states and 11+ countries, and why location matters less when your voice and eye are strong

• The values at the heart of her business: accessibility, kindness, paying artists on time, "no jerks", and approachable (never snooty) language

• Building a community for artists: annual surveys, honest questions, and a legendary 5-year party that brought 35–40 artists together in person

• The emotional and as Liz says, "slightly woo-woo" side of gallery work: believing that each artwork has a person it's "meant" for – and her job is to connect them

• What galleries can still offer artists in an age of direct sales and social media

• Treating the gallery itself as her biggest artwork, and why joy is non-negotiable in how she runs her business.

@lizlidgettgallery @lizlidgett

@elaine_dye_ @thebyregallery

Ever wanted to eavesdrop of gallery owners in conversation? Now is your chance . In this Christmas Special edition of An Art to It, I'm joined by two fellow gallerists: Sharon Harvey (Sanctuary Gallery, Gloucestershire, and landscape artist) and Sara McKee (Life Full Colour gallery and music venue, North Wales).

Together we unwrap what 2025 has really been like for independent galleries: the tough months, the surprising highs, the "Dunkirk Spirit" of a Private View in a rainstorm and flood, and why layering income streams and experiences has become essential.

We also answer questions posed by artists and makers on:

• How galleries choose new artists

• Whether being a "Northern" artist limits your gallery chances

• Following up when a gallery goes quiet

• The reality of pricing for galleries vs. art fairs

• Whether galleries worry about "missing the next Van Gogh"…

It's a cosy, honest, very real conversation about art, money, risk, resilience - and why your relationship with a gallery matters as much as your work.

You can visit each of our galleries here: https://thebyregallery.co.uk/

https://www.thesanctuarygallery.com/

https://www.lifefullcolour.com/

And find out more about me https://elainedye.com/

An Art to It will be back in mid January 2026

In this week's episode, I chat to visual artist Gabriella Buckingham, whose creative path has taken her from illustration, to product design, to online teaching, and finally to the richly expressive painting practice she runs today.

Gabriella reflects on her childhood desire to be an artist and how finally reaching her destination "was just what I wanted. So I'm very grateful." And how her time spent in the business side of a greetings card business left her with invaluable knowledge of trends, sales analysis and creative stamina which she could ultimately apply to her own creative business.

"I really feel that to run art as a business, you've got to be an optimist. You've got to be able to pick yourself up when you fail."

We discuss: • Our shared Lithuanian heritage - and the mystery at the centre of Gabriella's family history • Growing up obsessed with the paintings in her family home - as well as colour and ballet

• Why she realised graphic design wasn't for her as she cared far more about the painting than the type.

• The commercial years that gave her strong business foundations

• Life as a kitchen-table business owner on Not On The High Street, https://www.notonthehighstreet.com/ and the moment she realised success was costing her more than it gave back

• Creating and teaching her own online painting course, and why seven-month "live experiences" are as intense as they sound

• Entering work for the Royal Academy Summer Exhibition - and the electric moment she learned she'd been selected

• Brand inspiration, colour psychology, and why she thinks she's a "Spring business with an Autumn edge" inspired by Fiona Humberstone @thebrand_stylist https://www.thebrand-stylist.com/

• Brands she loves: Boden https://www.boden.com/, Toast https://www.toa.st/, and Kemi Telford https://kemitelford.com/

• Success, according to Gabriella: "the life I have now… just with a little more space, more painting, and more galleries."

You can enjoy Gabriella's work at - https://www.gabriellabuckingham.com/ and on instagram @gabriellabuckingham

In this final episode of my mini-series An Art to It: Unframed, we're talking about the quiet power of presentation - and why giving your digital presence a bit of a make-over can make such a difference to how your work is seen, understood, and valued.

As a gallery owner I get a lot of submissions from artists and makers asking me to consider their work, and naturally I look at their Instagram accounts and websites. Some times I'm excited by what I discover and others… well, let's just I'm left a bit confused as to what their practice actually is. So this episode explores how your online world: your Instagram grid and your website, act as your shop window. And just like any good window display, it needs a little thought, clarity, and styling to really invite people in.

In this episode we cover:

Why artists often resist "styling" - and why it matters more than we admit

What major retailers can teach us about presentation

How your Instagram grid works like a mini exhibition

Simple user-friendly and effective upgrades: profile photo, bio, pinned posts, highlights

The "mini shop window" effect and why clarity beats clutter

How to curate your website so visitors instantly understand your work

Seasonal styling and how small changes make your online presence feel fresh and current

This isn't about perfection, aesthetics for aesthetics' sake, or style over substance.

It's about helping your beautiful work shine in the way it deserves to.

If you've enjoyed this mini-series, I'd love to hear from you — and if you have topics you'd like me to explore in possible future Unframed episodes, just drop me a note.

And you can…

• Join my monthly Creative Brief newsletter: elainedye.com

• Listen to the full An Art to It interview series

• Follow along on Instagram for more tips for artists & makers @elaine_dye_ and @thebyregallery.co.uk

In this episode of An Art to It, I'm joined by applied artist Amy Stringer, who has just celebrated ten years of running her creative business.

Amy's practice moves between jewellery and ceramics – think structural, architectural, process-led work that blurs the boundaries between wearable pieces and sculptural objects. Starting with body adornment and bold cement forms, she's now known for both her chain-led silver jewellery and her carved Kurinuki vessels, where jewellery sometimes lives inside the ceramic object.

Together, Elaine and Amy talk about what has changed over the last decade for makers, and what it really takes to sustain a creative career over the long term.

They discuss:

• How the landscape for makers has shifted pre- and post-Covid, from material costs and gallery closures to the boom in workshops

• Why Amy's teaching practice has become a vital pillar in her business, and what she loves about passing on traditional skills

• Her transition from "fashion-minded" body adornment to process-led jewellery and ceramics, and the tension she's felt around the word "artist"

• Working with Kurinuki - an ancient Japanese technique of carving clay- and why her ceramic pieces can take months before they even reach the kiln

• Pricing, value and how ceramic audiences respond to labour-intensive work

• The differences between jewellery shows and ceramics shows, and why ceramics seems to invite more play

• The realities of self-employment as a maker: admin, tax, tools, rejection and the business skills that are rarely taught at art school

• How Amy approaches teaching second-career makers who are thinking about going professional

• The role galleries have played in her journey, and why having the confidence to approach them early on made such a difference

• What success looks like for her next ten years - from multidisciplinary exhibitions to sustaining a comfortable, creatively fulfilling life

And, as always, I ask Amy the podcast's central question: Is there an art to running a successful creative business?

Amy's answer is honest, encouraging and very recognisable to anyone trying to make their creative work pay the bills: it takes a particular personality, a lot of internal drive, and a willingness to keep going through self-doubt and imposter syndrome.

You can see Amy's work @amystringerdesign and at https://www.amystringer.co.uk/

It's one thing when a friend deliberately buys the same coat as you. It's quite another when your creative work, or something very similar, turns up on someone else's instagram grid, gallery, grid, or workshop offering. Copying is personal, deeply and annoying and hurtful - but when it could undermine your carefully crafted creative identity and brand, then it's a real issue.

In this episode, we take a look at the slightly thorny subject of copying in creative business: how to spot it, what to do when it happens, and how to protect yourself going forward. From personal experience to industry advice, she explores why copying hurts, when to take action, and how to trust your own originality even when others are borrowing a little too freely.

Whether you're an artist, maker, writer or workshop teacher, if you've ever had that sinking "hang on a minute…" moment, this one's for you.

In this episode:

• Why creative work feels personal

• What you can protect (and how)

• Why visibility invites imitation

• How to respond when someone copies you

• The difference between inspiration and imitation

• What to do if you're worried you're too close to someone else's idea

For more tips, sign up for my monthly newsletter, Creative Brief, visit elainedye.com