Full name/age/job title

Zavier Ellis/35/Curator and art dealer, director of Charlie Smith London and Ellis Rumley Projects.

What do people think you do in your job and what is it you actually do?

Like any job I think people don't understand the intricacies of my day to day routine, and a fair few would think I just go around getting drunk with artists at gallery openings. Actually the job is very complicated and multi-layered. It involves sourcing artists; learning about and researching artists; negotiating with artists, collectors, galleries, site proprietors and various other parties; organising exhibitions and participating at art fairs (sourcing clientele), both of which are logistically involved and complicated.

From thinking of an idea, to organising artwork, writing press releases, transportation, invitations, travel, hotels, installation, general administration, applications, financing etc; then we have legal aspects, contracts, meetings, pitches, accountancy, filing, website administration, design etc. Of course some of this is outsourced or delegated but everything needs to be overseen.

What's the hardest thing about your role?

Probably maintaining this very complex skill set, and ultimately realising that the more one learns the more there is to learn!

What do you look for when you're talent scouting?

If I'm scouting artists I will rely on a very instinctive and personal reaction to their work. I will then consider other aspects such as continuity, longevity, prior experience and potential. If I'm sourcing staff or team additions I will look for personality, intelligence, trustworthiness, independence, knowledge, amiability and potential. I am happy in both aspects to take someone without experience if they can fulfill these criteria.  

Where do you go to find new talent?

Graduate shows at art schools; art fairs; gallery and independent exhibitions; occasionally open studios.

When did you decide what you wanted to do with your life and how did you start out achieving it?

I knew from very early on during school days that I had a great interest in art. I was always responsive to it from a young age and took my art studies seriously throughout school including Art GCSE and Art and Photography A-levels. I decided to follow an academic route rather than practical before college and read History of Modern Art at Manchester University. It was there that I realised I wanted to organise events and exhibitions, and soon after did work experience and then opened a gallery in London that was self funded by working in other jobs - bar work, TV extra work, that kind of thing. I carried on practicing and took a Masters in Fine Art in the meantime. I ran the first gallery for around eight years until I felt I needed a new challenge, hence launching Charlie Smith London and more recently Ellis Rumley Projects and The Future Can Wait.  

Would you describe yourself as creative?

Very much so.

What one thing do you wish you had known at the start of your career that you know now?

I'm happy with the organic way in which things have developed, and I'm sure there is plenty I don't know now that I will know in the future. I think it's important not to have regrets but to learn from the past, and to use that going forward. So I'm happy to have not known then what I know now!

What is the biggest challenge young arts graduates face?

There are many. Ultimately a graduate will have to realise that art is a very long game. Some will receive attention and offers right away and others will have to be patient. It's important to keep drive and confidence going. Don't let the system deny you your ambition. A graduate also has to become savvy to the system itself. There are many layers and fragments within the artworld and it is the graduate's place to become aware of where they will fit in. Some will be 'discovered' but some will have to go about getting themselves discovered and they have to look in the right places. I would also recommend that graduates should stick together, organise exhibitions and be active. If it's not happening, make it happen.     

What tip would you give a new graduate?

Don't be arrogant. Don't underestimate people. Go to lots of exhibitions and art fairs.

Have you had any setbacks with your career? Did they hold you back in the long term?

I think everyone will tell you they have had setbacks, some bigger than others. I haven't had major setbacks, but there are always problems to solve. I think it's important to remain flexible and to be positive, and to be true to yourself. And if setbacks arise, try to learn from them.   

If you could have a career super power what would it be?

Alchemy.

Name five organisations/websites/resources that you find useful which would be beneficial to young graduates.

www.re-title.com - a very good resource listing artists and galleries, directed more towards artists

www.artnet.com - another expansive resource for artists, galleries and auctions, directed more towards galleries

www.artscouncil.org.uk  - good for funding as well as keeping an eye on the arts industries generally

www.businesslink.gov.uk  - a great, easy to navigate way of learning about tax, funding and general business practice.

www.linkedin.com  - a good way to network, make contacts and keep an eye on industry news stories by joining groups.

Image: The Future Can Wait, 2008. Old Truman Brewery, London. Curated by Zavier Ellis & Simon Rumley.