AURUM x Rob Unett - Part II
"Crafting the Creative Journey: Rob Unett on Teaching and Mentorship"
In Part II of our dialogue with Rob Unett, we delve into his roles as an educator and mentor. He shares insights on the hurdles of fear and self-doubt that students face, the diversity of motivations between different age groups, and the challenges these present in tailoring his teaching methods. In this interview we explore the delicate art of nurturing a visual language, the balance between instruction and patience, and the transformative power of mentorship in the creative arts.
March 01 2024 - By Lisja Tërshana
ParII: TEACHING AND MENTORSHIP
Lisja Tërshana (LT): I would also like to dive into your experience teaching, guiding and mentoring both young and mature students. What variations have you noticed in their respective learning processes, and how do these differences challenge your teaching style to meet their needs?
Rob Unett (RU): : The common thread among all my students, regardless of age, is fear. Fear of failure and fear of judgement are universal, impacting their confidence and focus. They often reach a point where they discard their work, thinking it's just a mess or confusing. This mindset, viewing their efforts as high-stakes, is a significant barrier.
The primary difference lies in their reasons for being in the classroom. Older students, typically over 40, often seek a change in their lives / lifestyles. They're usually more committed, driven by a desire to shift their life's direction. Conversely, younger students, especially late teenagers, might be experiencing art for the first time. Their motivations can be more varied, with some perhaps less committed than their older counterparts because there is so much in life new to explore.
My role is to help them develop a visual language, a way to express themselves through art. Another similarity is their frustration with this visual language. They often don't realise the disparity in experience between us. I've been practising for 25 years, while they might have just started. I encourage them to be patient with themselves. A masterful, or better still a confident hand takes time, and with practice, their ability to communicate visually, and feel fulfilled will grow. It's about the journey, not just the outcome.
LT: I get it. I guess it's the same with writing. Once you read a really good book and know where you want to be, it's hard to allow yourself to produce anything 'beneath' that.
RU: Exactly, that's the challenge. Students often have specific idea but lack the necessary skills or interplay of relating subjects to realise them. Their needs vary greatly; some respond well to a direct approach, even sternness, while others require gentle guidance and support.
Another significant hurdle is the financial aspect of art-making. Materials like pigments, paints, tools are costly, and this can be a barrier for many. Older students, often pursuing art as a hobby, might be less concerned about the expense and more focused on the enjoyment and exploration of art.
LT: Do you see yourself as their mentor and share your life experiences and values with them?
RU: When it comes to sharing personal experiences, I'm cautious and selective. I maintain a level of openness, especially with younger students, but I also keep a clear boundary. My belief is that bringing too much of my personal life into the session isn't necessary and could even be seen as self-indulgent. What's important for students to understand is that they are in capable hands. They should be aware of my background, my expertise, and my commitment to their development.
While I technically fulfil the role of a teacher, I resonate more with the terms 'guide' or 'mentor'. This preference stems from my aversion to traditional hierarchical structures. I believe in a more egalitarian approach to teaching, recognizing that we are all at different stages in our journey of learning and growth.
LT: What about professional life experiences?
RU: Absolutely, I'm always eager to share those. I enjoy discussing my various roles in the industry, the diverse jobs I've undertaken, and the reasons behind my career choices. My journey through different roles and the progression from one to another is something I openly talk about. I also like to share lighter moments, such as amusing anecdotes from fashion shows and similar experiences.
However, when it comes to the deeper meanings behind a piece of art, the conversation can become more complex, especially with older students. These discussions sometimes venture into sensitive territories, and it's crucial to navigate them with care. I'm mindful of the group's comfort level with certain topics. Before delving into potentially challenging subjects, I make it a point to check in with everyone. Asking for their consent with questions like, "Are you okay with discussing this?" is a way of showing respect and ensuring a comfortable learning environment for all.
LT: In your journey as an educator, do you differentiate between your roles of teaching and mentoring?
RU: In the realm of creativity, teaching and mentoring often overlap and influence each other. There's a domino relationship between the two, where insights from one area can enrich the other.
LT: Reflecting on your experiences, what do you believe is the essence of mentorship, especially in creativity?
RU: You've got to really care about other people and give your time; that's the most important thing. It's about desiring the best for every individual, regardless of their background experience, skill level, or their reasons for being there. Sometimes, students may not even fully understand why they're there, but as a mentor, it's crucial to be mindful of the impact your words can have. What you say can significantly influence their beliefs and choices. This responsibility is immense; it's akin to guiding children who have been entrusted to you. Honesty and sincerity in communication are paramount in ensuring that the guidance you provide is both meaningful and beneficial.
LIFE AND REFLECTION
LT: What moments or roles in your career are you proudest of? Which role do you find most enjoyable and rewarding?
RU: I remember my interview at Central Saint Martins with the late Louise Wilson, when she said I had been accepted onto the MA course. Only a small number of others had been accepted on the programme.
I'm not the biggest crier, perhaps another human defect, but I remember bursting into tears on Charing Cross Road and calling my Mum. I couldn't believe it, it was the only time I truly felt that my working-class background wasn’t holding me back. I moved, I stepped out, and I was going somewhere else — I felt I was destined for more than I had ever thought possible. That's the moment I felt what I think the word 'pride' means. There's lots of other stuff in my career I've been very happy to be chosen for, but maybe for them I'd replace the word 'pride' with 'happiness.' I'm grateful and thrilled for every job offer I've ever received, and I've given each one 5,000% of myself to the point of exhaustion.
LT: How do you perceive the interplay between art and wellness in your own artistic practice?
RU: For me, art is profoundly cathartic. It's a means to express and release my emotions, which is intricately linked to wellness. Through figure drawing and painting, I channel my feelings, providing a necessary outlet. Without this form of expression, I often wonder where those emotions would end up. So, in that sense, art is integral to my well-being.
LT: Do you engage in other creative activities to provide a similar cathartic outlet?
RU: All of my energy in terms of the creative, cathartic side of it gets poured into art. I do collaborate with videographers and photographers on various projects, from tiny tests to humongous campaigns and all that’s in between. These collaborations offer a different kind of catharsis, stemming from the synergy and mutual appreciation and respect in a creative team. It's about the collective energy and the shared creative process. The emotional investment I put into my paintings is distinct from these collaborative projects. In these collaborations, my focus is more on my contribution rather than the emotional expression found in my personal art.
LT: How do you strike a balance between fulfilling the requirements of your art practice while also taking time for yourself?
RU: Honestly, I'm probably not the best example of balance. I admit I'm somewhat of an addict when it comes to painting and working. Even if a task requires just a fraction of my effort, I tend to immerse myself completely. I often rationalise my intense dedication to my job and art as being beneficial for me, but the truth is, I'm deeply passionate about creating.
My advice to others would be to perhaps not immerse themselves as intensely as I do. My extensive experience comes at the cost of being perpetually busy. In my time in the fashion industry, my days were long and relentless, starting early and ending in the small hours. This lifestyle wasn't the healthiest, but it stemmed from a deep-seated drive and perhaps a fear of not appearing fully committed, being judged as unnecessary and the need to feel your contribution is good and you’re needed.
Over time, I've learned the importance of setting boundaries. My partner has been instrumental in helping me establish these limits. Now, winding down by 6 p.m. on weekdays has become a sort of norm for me. This downtime is crucial—a time to relax, cook, and listen to the radio. As I've aged, I've come to appreciate these moments of rest more than I did in my earlier, more relentless years. It's about finding a healthier balance between work and personal time, something I've gradually learned to value.
LT: How do you feel this shift has influenced your current artistic practice and creative output? Do you find that this balance enhances your creativity or brings new perspectives to your work?
RU: I have achieved a certain level of balance, but it is flexible, especially when faced with major projects or tight deadlines. However, overall, my approach is now healthier. I have come to realise the importance of being able to 'switch off' and take breaks from my work. This detachment isn't just a rest period; it's a crucial part of the creative process. Taking time to step back allows for reflection and often leads to improved quality in the work. Returning to a project with a refreshed perspective can make a significant difference.
This practice is particularly beneficial during the initial stages of creation when ideas are being formed and plans laid out. Taking breaks at this point can lead to more thoughtful and well-considered work. As a project nears completion, the focus shifts more towards the technical aspects and finalising details. But even then, maintaining some level of balance can contribute positively to the overall process and outcome.
LT: Has it impacted the way you mentor your students?
RU: Reflecting is something I teach my students, as I think it’s greatly undervalued. People often prioritise doing over thinking, but reflection should be implemented more often into people's practices. In a world focused on action, the importance of pausing to think is crucial. I advise students to take time for reflection, to step back, and to critically assess their work, both creatively and technically. Although this practice is important, it's up to the students to take it on board.
LT: What are you keen to explore in the future? Are there any upcoming projects or plans you can share with us?
RU: Honestly, I don't do much predicting the future these days. The older I get, the less I find myself planning, and, surprisingly, things just seem to unfold naturally. While I've had interests in sculpture and oil painting, I'm currently not looking to venture into new learning territories. It might sound odd, but I want to focus on what's already in my mind, exploring those ideas further.
One change I'm considering is scaling down the size of my work. I typically work on a large scale and at a fast pace, but now I'm thinking of shifting to smaller pieces. As for upcoming projects, there's nothing major on the horizon bar creating a coffee table book of my work, not just for others but for me to look and think again at the vast amounts of art I have created. Having just completed a demanding project, I feel the need for a break. I prefer to spend time experimenting in my sketchbook rather than jumping straight into another big commitment. Avoiding the pressure of set goals can be liberating. So, for now, as long as I'm here and creating, that's enough for me.
Editor - Lisja Tërshana
Lisja Tërshana (@tershana) is Art Editor of Aurum Arts. She is also an art curator, writer, and design strategist. As an MA Innovation Management candidate at Central Saint Martins, she is researching innovative philosophies and mediums to meaningfully transform the art ecosystem.
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