Tabi was drawn to ECA due to the MA Fine Art programme enabling students to study both art practice and history of art alongside each other over the course of five years. Tabi was drawn to this mixture as it included both of her interests, particularly in research.

Since leaving University, Tabi has gone on to work for the David Zwirner Gallery in London to learn more about the sales side of the art world as well as creating and selling art at fairs.

Why ECA?

My initial attraction to the Edinburgh College of Art centred around the MAFA course, the distinctive programme that blends art history with fine art in a well-balanced curriculum. The allure of Edinburgh as a city was the second convincing factor.

Having already completed a foundation course before joining Edinburgh, it was important to me to apply to an art school with comprehensive workshop facilities. Having access to these facilities, regardless of the artistic direction I might choose, played a pivotal role in my decision to study at ECA.

Tell us about your time at ECA

Research has always been a cornerstone of my art practice, and I was fortunate to have this emphasis encouraged through art history lectures throughout my academic journey. The exposure to alternative perspectives on my studio work, provided by art and art history lecturers, proved immensely valuable. Engaging in mixed critiques with academics whose research might have been unfamiliar often shed new light on my artwork—truly invaluable experiences. The independence we received in my final year allowed me to integrate my passion for decorative arts and crafts into my dissertation and studio practice, fully immersing myself in their exploration. 

Being part of the MAFA programme also fostered a wonderful exchange of ideas and conversations spanning different years and disciplines. In a way, the MAFA transcended the traditional categorisations like sculptor, photographer, or painter. It allowed us to delve into fine art without boundaries, defining our artistic exploration in a way beyond conventional labels. Participating each year in the MAFA exhibition was always fun and exciting, but growing together with your peers and watching as work developed way after the five years was very special. 

One of the highlights of my time in Edinburgh was co-founding the event Spare Rib. It aimed to provide an alternative viewing experience of art, music and dance, a different format of viewing to engage with non-typical art go-ers in the wake of COVID-19. Hosted at Edinburgh's iconic Caves venue, the event blended performance, art and music; fostering spontaneous collaboration among creatives. Students from all years and specialisms allowed for a creative hub of energy and enabled creatives to be spontaneous in their making as they collaborated with each other's art forms within the event space. 

Reflecting on my ECA experience, the lasting bonds with tutors stand out. During a discussion about my studio work in the fifth year, a tutor fondly recalled some less-than-stellar pieces from my second year. This humorous yet endearing comment not only showcased the depth of our academic relationship but also underscored the personal care and commitment to fostering the creative growth of their students.

Tell us about your experiences since graduating

After graduating, I managed to delay the initial shock of entering the creative world as a young graduate by starting a sales internship at the David Zwirner Gallery in London. This experience exposed me to the commercial side of the art industry, where I had the exciting opportunity to work with major artists' works in private gallery rooms and assist the gallery at Frieze London Art Fair. Working behind the scenes during art fairs gave me a different perspective on the art market. Witnessing the thorough preparation of galleries and art fairs for these events, along with actively participating in rehangs each day, gave me valuable insights into the industry's dynamic nature.

Navigating careers in the creative industry has been challenging. I have continued designing patterns and fabrics from home, selling items at occasional fairs and constantly seeking diverse experiences. Engaging with creative individuals and fellow graduates has been crucial, especially helpful when realising that creatives often move at different paces. 

I've maintained an openness to new opportunities, consistently applying for positions and submitting work, recognising that careers in the arts are often non-linear. I have found opportunities in the most unexpected places; through designing patterns, I have had the chance to get involved with World Parrots Trust, helping produce products to sell to raise money for the cause at their events. 

Putting yourself out there can be difficult but not impossible. Understanding that you never know where a job or role might take you is pivotal in actively pursuing and embracing every opportunity that comes your way.

Alumni wisdom

Some of the worst art I made at ECA provided the best grounds for conversations with peers and tutors and are some of my fondest memories. Impromptu crits within the art school could inspire and catapult ideas forward, even when I did not feel inspired. Make the most of the passionate, creative people across the ECA, including art historians, visiting lecturers, artists, technicians, tutors, and the unique and sometimes hidden spaces you have. 

Find Allan’s wardrobe.

Staying active creatively can look different for everyone; you can be making progress without doing physical work. This is especially relevant after graduating.