Tag: Artist research

I missed the last lecture on professionalism and unprofessionalism due to family circumstances. Ironically, missing out on topics that interest me most. But watching the recording was still a rich experience, listening to the discussions and the different perspectives people brought to the conversation. 

I read the article How to Be an Unprofessional Artist by Andrew Berardini, which Jonathan shared in the lecture. And, I think the word “unprofessional” carries a certain weight, often with negative connotations. It reminds me of how the word “steal” is used provocatively in Steal Like An Artist by Austin Kleon, or how “disabled” can be perceived in different ways, negative for some, yet embraced by others as a form of identity and empowerment. Language is powerful; it doesn’t just describe the world, it shapes it. It influences how we see ourselves, how others perceive us, and what opportunities are available to us.

A key point in the discussion was how professionalism is often framed by rigid, exclusionary standards, ones that can erase individuality, lived experience, or even care. But does professionalism have to mean conforming to a narrow, predetermined image? Many so-called unprofessional traits: honesty, vulnerability, and unconventional approaches are actually strengths. They challenge existing systems, create space for new ways of thinking, and foster deeper engagement.

The tension between professional and unprofessional seems to lie in whether professionalism is dictated by external standards or defined through integrity, care, and dedication to one’s practice. If professionalism means respect for oneself, for others, and for the work, then it doesn’t have to mean suppressing individuality or creativity. I see professionalism not as following a strict rulebook, but as a commitment to craft, ethics, and meaningful engagement.

As a mother of a child with special needs, I’m particularly aware of how language shapes perception. In different contexts, the term “disabled” can be either empowering or limiting. Could “unprofessional” also be reclaimed? Maybe, but only if doing so truly empowers rather than undermines.

My own art practice naturally resists traditional notions of professionalism. Coming from multiple backgrounds, embracing mistakes, and working in multidisciplinary ways, I see value in experimentation and non-traditional approaches. Rejecting conventional professionalism doesn’t mean rejecting care, commitment, or quality. It means refusing to be boxed into a system that wasn’t designed for people with diverse experiences and ways of working. Above all, rejecting traditional professionalism can be an act of resistance, challenging exclusionary structures that dictate who belongs and what is deemed acceptable work.

I navigate between institutional and freelance work, moving fluidly between structured and independent spaces. Working with institutions while maintaining my own perspective allows me to challenge the system from within while also creating alternative ways of working. It’s about understanding the rules but choosing when and how to break them in ways that are meaningful.

This ability to shift between spaces sometimes fitting in, sometimes disrupting gives me agency. It also allows me to act as a bridge for others who feel like they don’t fit into traditional structures. This is something I see in my work, whether through Moon Letters, Creative Peers, or other social sculpture projects.

Rather than seeing professionalism and unprofessionalism as rigid opposites, I see them as fluid. True professionalism, to me, is about care, respect, and meaningful engagement, qualities that don’t require conforming to outdated norms, but rather, reimagining them.