INTERVIEW WITH
MONTANA FORBES, CLUSTER RESIDENCY JUROR.
Cluster Illustration is pleased to welcome the board member of The Association of Illustrators,
Educator & Illustrator, Montana Forbes to our Artist in Residency Programme as a Jury mentor.
Describe 24 hours in Montana's life in lockdown.
Each day is different, during the week I get up early 6am to either go
for a solo jog or if my 4.5 year old daughter wakes up early we have some breakfast together then I’ll take (pull) her along on her scooter/bike or we have a yoga session together. This sounds more idyllic than
the reality but I'm quite enjoying the extra time in her company.
My partner and I alternate mornings or afternoons in looking after her
so the above is describing my mornings with her then I start my working day from 1-5pm and also continue in the evening after she goes to bed. When my partner looks after her I work from 8am to 12pm,
in this order - replying to emails and enquiries and then doing some personal work or continuing with ongoing commissions.
My daughter still takes naps anytime from 1-3pm and we use this time
to do additional work then I spend the afternoon with her doing activities, reading, painting and sometimes baking or making ice cream.
We have dinner between 6:30 and 7:30pm and take turns to put her
to bed at 8pm. In the evening we usually continue with work,
watch a movie or read in bed and have an early night.
When I have a lot of work on it’s not unusual to work till 1 or 2am.
How is the current health climate affecting a fantastic platform such as The Association of Illustrators?
I think the AOI finds itself in a unique position in that, it’s services
and support are needed more so now than ever - to keep members abreast of COVID developments on issues concerning illustrators,
they continue to provide valuable resources as well as connecting
the community through various online events and inspiring newsletters.
The AOI team are working harder than ever and the Board is holding frequent meetings to discuss innovative ways and ideas to help members through these challenging times.
As an educator, what are the benefits and negatives
of online teaching?
How did the current health climate affect your process?
The benefits of online teaching are easily the breadth
of students/participants that can attend but on the other hand technology has it’s limitations so it’s all experimental at this point as to what works
and the best ways to keep students engaged. These methods of teaching will continue to be revised as time goes on. My research methods
are now very limited, not being able to go to vintage stores, libraries, bookstores and even observations from real life has changed.
I’m now digging through my stock of vintage magazines and art books.
Tell us about your journey with Illustration Ltd agency?
How beneficial it has been for you?
The journey with my agency IllustrationX Ltd (they rebranded last year) has been of great benefit to me both professionally and personally. I was working at a magazine art desk after graduating from a Visual Communications degree and I created and sent in some work samples to the agency and they took me on straight away, I have been with them ever since - 15 years ago. The international reach and professionalism of the agency
has certainly helped me maintain a successful career and they are continuously encouraging and supportive any new projects and other professional ventures
that I’ve developed along the way.
How important is for an illustrator to be represented by an agency?
I think agency representation is relative to the individual illustrator,
if you have the business acumen then it is not necessary.
An agency tends to provide a community of (their) artists, so you get to know
other illustrators, how they work and learn more about the industry from personal experiences which I have found quite rewarding.
What are the 3 most important professional advices
you would give to a starting out illustrator?
First: Your portfolio is the most important representation of who you are
and how you interpret the world through your unique vision.
Second: Attend industry events and engage with illustration institutions
or related industry bodies/organisations like the (AOI) Association of Illustrators
or (HOI) House of Illustration so you get better connected to the industry.
Third: Continually hone your craft and expose yourself to other creative industries
to keep inspiration flowing and make time to take care of your physical and mental health. Illustrators tend to work in isolation and it’s important to maintain a sustainable way of working and develop methods of coping with i.e. too much or too little work,
lack of inspiration or feelings of insecurity.
When you are organising exhibitions or conferences, what is the core
of your curatorial approach? What is that you are looking for?
There is always a theme or underlying thread to an exhibition so this leads my research into which artists to approach and include in a show. I like to incorporate an element
of surprise by gathering artists that wouldn't normally seem fitting in the same space
or the materials that they work with. Conferences should be informative and inspiring,
the aim is for attendees to leave feeling they have learnt something new and invigorated to grow as an artist.
Do you think artists benefit when participating in fairs? If yes/no, why?
This is quite subjective and depends on the kind of illustration you do.
Fairs are sociable events and a great platform to promote and sell work.
I think they tend to suit more sociable characters that enjoy having an exchange
with various people.
Do you think illustration as a medium needs better
gallery representation in the UK?
Absolutely and this is something I would love to get more involved with:
illustrators are broadening into the art world and showcasing the medium as a fresh, accessible and inexpensive way to investment in art.
Can you name 3 illustrators that our readers might not have heard
and should look out for in the coming years?
Christina Zimpel - I cam across Cristina’s work recently on Fida (Fidaworldwide),
her work is bold, playful.
Lisolette Watkins - I think she’s an exemplary illustrator who has developed
and comfortable bridges fashion illustration, textile design and fine art (pottery).
She’s my fashion/illustration idol.
Graham Little - I was introduced to Graham’s work whilst working at Alison Jacques gallery in Fitzrovia. Admittedly, he is not an illustrator in the traditional sense
but to me he epitomises fashion illustration art.
Thank you for reading,
Cluster Team.