Ailbhe Callanan

We asked 2025 Platform Graduate Awardee, Ailbhe Callanan to share her experiences of the last twelve months following graduation. Ailbhe’s practice is concerned with memory, identity and intergenerational trauma in relation to land, with a particular focus on the legacy of colonialism in rural spaces explored predominantly through printmaking processes. Ailbhe was selected by Phoenix Art Space, Brighton.

How has this first year since graduation met your expectations so far?

The past year has been focused on maintaining momentum within both my practice and my professional development. My expectations have evolved throughout that time as I continue to gain an understanding of the various opportunities that could further progress my career. I have certainly felt the lack of community and peer critique during the past year, as well as the lack of access to facilities and equipment integral to my printmaking practice. However, these circumstances have led me to develop a deeper level of trust with my own judgement, and have also expanded my practice beyond the parameters of printmaking.

What was your greatest need as an artist after graduating?

Finding a studio space was my greatest need after graduating, and I was lucky to secure a space at Old School Studios when the building opened in October. Having this space has given me a huge sense of stability and purpose, and has allowed me to begin developing an independent studio practice for the first time. It has also been great to have a studio which is only a short walk away from where I live, as this means I can go there whenever I have a free hour or two.

What have you been doing since you graduated? (both for income generation and developing your practice)

I began working for an English Language school last summer which allows me to earn enough money while spending as much time as possible at my studio. I have continued to apply for open calls, and have exhibited in four group shows since graduating. In the past few months, I began making several residency applications for the coming year, and keeping an eye out for opportunities which could progress my career outside of Brighton. Most recently, I participated in the Artist Open Houses as a studio member at Old School Studios, which gave me the opportunity to sell work for the first time and also to host my first printmaking workshop. I have also recently joined the team at Phoenix Art Space as a freelance front of house invigilator.

Who has given the best advice?

Stephen Felmingham from Arts University Plymouth explained the importance of being an artist in every aspect of my life. This means that I am an artist when I’m at my day job, when I’m doing laundry, reading a book or sending a text, and I should make decisions and judgements based on that. This advice has drifted in and out of my consciousness since speaking to Stephen, and I expect it will continue to do so for the rest of my career.

What advice do you have for other artists starting out?

Be selective about the things you apply for, especially if there is a cost involved. I understand the urge to build up your CV with lots of group exhibitions, but it will serve you better to be part of shows which clearly align with you and your work, and you will be taken more seriously as an artist as a result.

What are your plans for the future?

I recently found out that I have been selected for a 6-month residency in Austria, so I will be heading there in September. The residency is based in an art space in Innsbruck where I will have the opportunity to assist on and run workshops for young people and will also have my own studio space to develop my practice. Until then, I will carry on working on the various threads of my practice from my studio in Brighton, attempting to use up all of the scrap and found materials I’ve accumulated before I move out.

Image of the artist: Laurence Tidy, 2026