A Professional Portrait by Laura Preece

Editor of Content and Social Media


Published: 2nd July 2017

What inspired you to pursue a career in the arts?

It sort of happened by accident! I grew up in a house of art lovers and, even though I studied English at University, I found myself writing essays about artworks and the artists behind them. I contemplated pursuing something more sensible — doing a law conversion, or working in a more ‘stable’ industry — but always came back to art.

Can you tell us a little about your role?

 I’m currently Editor of Content and Social Media at MutualArt — a young company combining data with human expertise to offer an in-depth, objective overview of the current art market.  

What does your average day entail?

 At the start of each week, I map out key events in the art world calendar — from auctions and exhibitions, to major discoveries or new projects. This research feeds into a busy Editorial schedule; each day I write and commission features, contact industry experts for commentary, update our social platforms, and work with our data analyst to create articles packed with meaningful data.

How did you get your job?

 I spent several years at Christie’s, building the company’s online content operation and contributing to its social media output. A former colleague, who had moved to MutualArt, contacted me to ask if I’d do the same for them!

What is the best part of your job?

It’s great to work for a company that’s so far reaching: we don’t specialise just in Post-War and Contemporary Art, or Impressionist & Modern, but really cover the full spectrum — from Old Masters to new emerging artists in countries around the world. Having that variety means the job is constantly interesting — with enormous potential for editorial.

What is the hardest part of your job?

Choosing what to write about! With so much going on, it’s vital to focus on creating features that are meaningful, and offer readers real insight.

What has been the highlight of your career?

One of the earliest projects I had at Christie’s was working on the company’s live coverage of the Venice Biennale. The project involved a lot of hot days, navigating the city’s canals with a camera crew and an exceptionally poor internet connection! Pulling it off, however, and seeing real engagement from our audience, was enormously satisfying.

What is your favourite Artwork?

That’s an impossible question! I grew up with a love of the St. Ives artists which has stayed with me as an adult — people like Alfred Wallis, Ben Nicholson and Peter Lanyon. In my time at Christie’s, one of the most striking works was, unexpectedly, a painting of old women darning socks by Angelo Morbelli. It’s a beautiful meditation on the significance of mundane tasks, and how we play with language.

Which artist would you have liked or would like to meet?

Salvador Dalì, to see if the outrageous personality he projected lived up to the reality. I spent several years working in Paris, and often imagined him wandering the streets of Montmartre — moustache extravagantly curled, walking his pet ocelot.

What advice would you give to people trying to enter the art industry?

Be persistent! Get as much experience as you can, take advice from talented people at the top of their game, and carve a niche that suits your talents.

If you weren’t in the art industry, what would you be doing?

Writing and Editing somewhere else — though probably developing a dangerously expensive art collecting habit on