Grayling’s commitment to inclusion and social mobility includes partnerships with Creative Access, Lexxic and the Creative Mentor Network. These partnerships widen access into the industry, support neurodiverse talent and expand mentoring opportunities for underrepresented groups across the UK. Reports Chris Newbould, Prolific North.

Dead Ink, an independent publisher in Liverpool and self-proclaimed “publisher of the weird, bold, and genre-defying,” has been named the second recipient of the David Tebbutt Internship Fund – an initiative launched in 2025 from Creative Access and the David Tebbutt Trust to open doors for under-represented talent in publishing.  Reports Chris Newbould, Prolific North.

May’s Creative Access masterclass took us to Whitechapel Gallery for an evening exploring careers in contemporary art, followed by a private late viewing of current exhibitions. 
Our community received an exclusive introduction to one of London’s most historic galleries by Richard Martin, director of participation. The session offered insight into how Whitechapel Gallery continues to evolve while staying rooted in its founding mission: bringing world-class art to the communities of East London.

A gallery with a purpose 
Founded over 125 years ago, Whitechapel Gallery was established as a radical, political project, to make the finest art in the world accessible to people in East London, at a time when the area was widely overlooked. That ethos still shapes the gallery today. As Richard explained, contemporary art spaces are not just about exhibitions – they are places to explore politics, social issues and lived experiences. 
Set in one of the most diverse parts of London, the gallery operates at both a global and local level, showcasing international artists while building deep, meaningful relationships with its surrounding communities.

Community at the core 
Community engagement is not a separate strand at Whitechapel; it runs through everything the gallery does. 
From working with local schools to hosting workshops, panels and artist-led projects, the gallery collaborates with around 50–60 artists each year across its participation programmes. 
When developing new ideas, teams often return to two key questions: 
Why Whitechapel? And why now? 
These questions ensure that exhibitions and programmes remain relevant to both the local context and wider global conversations.

Careers in the gallery sector 
One of the most valuable parts of the session was a behind-the-scenes look at how the gallery works. With a team of around 60 staff (plus freelancers), roles span across departments including participation, operations, fundraising, finance, tech and much more. 
Richard highlighted that the gallery staff team have studied a wide variety of subjects, including art history as well as art degrees. Interestingly, the gallery looks for people with strong values, transferable skills and a collaborative mindset. 
“It’s less about what you know, and more about how you think and work with others,” he shared. 
At the heart of the gallery is its commitment to East London’s community. Programmes created by Whitechapel Gallery include Duchamp & Sons, a youth collective for young people aged 15-24 from East London to experiment with art, conversation, exhibitions and events. The Young Associates scheme, launched this year, offers paid, year-long training, mentoring and hands-on experience for 18-30 year olds. 

Responding to place 
Located next to one of London’s most striking examples of contrast, Whitechapel sits between towering financial districts and the vibrancy of Whitechapel Market. This tension, between wealth and inequality, global and local, continues to shape the gallery’s work and identity. 
In recent years, there has been an increased focus on building long-term relationships within the local community, ensuring that the gallery remains accessible, inclusive and representative of the people around it. 
 
Exploring the exhibitions 
After Richard’s eye-opening talk, attendees were invited to explore the gallery’s current exhibitions, including: 

• Veronica Ryan: Multiple Conversations – a material-rich exploration of form, memory and identity, open until 14 June 2026 

• Gabriel Chaile exhibition – an immersive installation rooted in history and community, open until 6 September 2026 

• Senga Nengudi exhibition – powerful documentation of performance through photography and film, open 14 June 2026 

A clear message emerged from the evening: there is no right path into the arts. Whether through formal training, transferable skills or lived experience, what matters most is curiosity, collaboration and a willingness to engage. 
Whitechapel Gallery stands as a powerful example of what happens when art is made accessible, not just as something to observe, but as something to participate in, question and shape. 

Big thank you to Whitechapel Gallery for hosting us, Richard Martin for an insightful conversation and everyone who joined us for an enriching evening! 

Interested in joining a Creative Access masterclass? Register with us today and keep an eye out for our upcoming events. We can’t wait to say hi! 

Liverpool-based publisher, Dead Ink, is awarded internship grant to open doors for under-represented talent in publishing. 

Dead Ink, an independent publisher in the North of England, is the award-winning alternative to mainstream publishing, “publishers of the weird, bold, and genre-defying”.  

The company has been named the second recipient of the David Tebbutt Internship Fund – an initiative launched in 2025 from Creative Access and the David Tebbutt Trust to open doors for under-represented talent in publishing.   

The internship fund honours the memory of David Tebbutt, former Finance Director at Faber, who passed away in 2011. The Fund is jointly administered by Faber and the Tebbutt family.  

The Fund will provide 100% of the cost of an intern’s training bursary or salary based on the Real Living Wage for a 6-month, full-time traineeship once a year for three years. It will also cover all costs relating to the recruitment and training of successful candidates.  

The initiative is aimed at small, regional publishers who might not otherwise have the resources to host a trainee. It is specifically designed to support people from backgrounds historically under-represented in publishing – this includes, but is not limited to, Black, Asian and ethnically diverse candidates, disabled, D/deaf and neurodivergent people, and individuals from lower socioeconomic backgrounds.  

On receiving the funding, Nathan Connolly, managing director of Dead Ink, said: 

“Dead Ink’s origins are as a shoestring press driven by passion, and we have long championed working-class access to the publishing industry. It gives us great pleasure to be able to accept this funding to open doors to those from a similar background as myself.” 

Judith Tebbutt, wife of the late David Tebbutt, and Oliver Tebbutt, his son, as trustees of the David Tebbutt Trust said:  

“We are absolutely delighted that Dead Ink has been chosen as the recipient of the second Creative Access/David Tebbutt Trust award. This will give the chosen trainee an exceptional opportunity for what is hoped will be, a successful future career in publishing. David would have been extremely happy.”  

Josie Dobrin OBE, founder and executive chair of Creative Access, commented:  

“We were super impressed by the quality and range of applications for the second round of the David Tebbutt internship, and selecting a recipient was no easy task. We are delighted to award the grant to Dead Ink and are confident they will provide an excellent opportunity for someone from a disadvantaged or marginalised background to enter the publishing industry while helping to continue David’s legacy.” 

Recruitment for Dead Ink’s editorial trainee will be led by Creative Access. The intern will be paid the National Living Wage and join Creative Access’ Springboard programme, receiving training, mentoring and peer support to help them build a sustainable career in publishing.  

Applications for the next round of the Fund will be open from the start of January – mid February 2027. For more information and to apply, contact recruit@creativeaccess.org.uk. 

Apply to become Dead Ink’s next editorial trainee. Applications close: Monday 1 June 2026 at 11.59pm. 

For April’s masterclass, we partnered with Studio Lambert, the team behind hit shows like The Traitors, Gogglebox, Race Across the World and Squid Game: The Challenge, for an honest, behind-the-scenes look at careers in unscripted television.

From casting and development to logistics and storytelling, the session unpacked what it really takes to bring large-scale productions to life and how to build a career in the process.

Chaired by Mel Rodrigues, CEO of Creative Access, the expert panel featured a talented team from Studio Lambert:

• Sabeh Bali, producer director
• Zoe King, junior production manager
• Zyreeta Abadji, casting executive

Drawing from their experience working on Race Across the World, the panel shared insights into the complexity, creativity and collaboration behind one of television’s most demanding formats.

A clear theme throughout the session was the breadth and unpredictability of roles in unscripted TV.

Sabeh described Race Across the World as “almost indescribable”: a blend of competition, reality and travelogue, where storytelling unfolds from multiple perspectives. Working on the series means navigating intense conditions on the ground while capturing authentic human stories.

For Zoe, the role of a production manager has evolved significantly. From coordinating travel, booking accommodation and managing checkpoints to overseeing budgets and working closely with editorial teams, her day-to-day work sits at the centre of the production’s moving parts.

Zyreeta offered insight into the casting process, highlighting the level of care and strategy involved. From building a “wishlist” of characters to running nationwide outreach and reviewing applications, casting is about finding people who are not only representative and diverse, but whose stories resonate. “You meet so many people, and sometimes their journey surprises you,” she shared.

From pre-production to filming, the scale of planning behind Race Across the World is vast. Before filming begins, teams carry out recces, map routes, assess safety risks and plan for multiple scenarios. But as the panel made clear, even the most detailed planning cannot account for everything.

Zoe recalled navigating unexpected challenges, from political unrest to wildfires and even a typhoon, requiring constant contingency planning. “You can plan and plan, but something will always shock you,” she said.

On the ground, adaptability is essential. Sabeh described receiving last-minute changes and setting up entirely new checkpoints, often while travelling for weeks at a time. “It’s about being one, two, three steps ahead,” he explained.

At the heart of it all is teamwork. With crews spending up to 54 days on the road, trust, communication and empathy are critical, not just within teams but with contributors too. “You’re experiencing it with them,” Sabeh noted, emphasising the importance of duty of care.

As with many Creative Access sessions, the conversation turned to career pathways and the reassurance that there is no one “right” way in.

Zoe shared her journey from North Wales into the industry, starting as a runner and intentionally exploring different roles. At one point, she even stepped back to try new areas before progressing again. Her advice was clear: “Try everything, big, small, scripted, unscripted. There’s no right or wrong.”

Zyreeta’s route into casting began outside the industry, working in local government before moving into creative spaces through radio and training programmes. Her experience highlighted the value of transferable skills and staying open to opportunity.

Sabeh emphasised the importance of curiosity and initiative. “Learn on the job, ask questions, and be patient. Build your skillset step by step.”

Across all roles, the panel highlighted a shared set of essential skills:

Adaptability – responding to constant change and unexpected challenges

Resilience – learning from setbacks and continuing to push forward

Curiosity – asking questions and actively seeking to learn

Collaboration – working closely across teams in high-pressure environments

Zoe encouraged attendees to adopt a “say yes” mindset early in their careers. “It’s about thinking, how can I make this work? Not, I can’t do this.” For Zyreeta, confidence in your perspective is equally important. “It’s ok to have an opinion, especially in casting.”

The panel also spoke about the importance of building inclusive production teams, both on and off screen.

Zyreeta highlighted the need for diverse casting teams who can connect with lived experiences and communities authentically. Outreach to grassroots networks plays a key role in ensuring representation is not just visible, but meaningful.

Zoe pointed to initiatives like placements and training schemes as ways production companies are working to widen access, while Mel emphasised a simple but powerful truth. “If you can’t represent behind the scenes, how are you going to represent on screen?”

Mentorship was also highlighted as a crucial tool for progression, helping individuals navigate the industry and build confidence.

The session closed with reflections on navigating uncertainty in both the job and the industry. Whether it is adapting to new technologies, changing roles or responding to unexpected challenges on location, the ability to stay flexible and keep learning is key.

When asked for one piece of advice, the panel kept it simple:
Zoe: Seize every opportunity
Sabeh: Be resilient, try again
Zyreeta: Trust your voice

Thank you to Studio Lambert and our brilliant speakers for an honest and insightful look into the world of unscripted TV.

For those looking to break into the industry, sessions like this are a reminder that while the path may not be linear, there are many ways in, and every experience counts.

Interested in joining a Creative Access masterclass? Register with us today and keep an eye out for our upcoming events. We can’t wait to say hi!

In her role at Grayling, she was a founding member of the agency’s original DEI group and parenting employee resource group, and was responsible at the board level for a range of inclusivity programmes, including with partners such as Lexxic, Creative Mentor Network and Creative Access. Reports Siobhan Holt, PR Week.

Eborall is a known industry advocate for DEI. She has been chair of PRCA Yorkshire & Lincolnshire since 2020, membership officer for Women in PR since 2024 and recently joined the steering committee for Break the Silence. She has a long-standing track record of mentoring with organisations such as Leeds Beckett University, and in her role at Grayling was a founding member of the agency’s original DEI group and Parenting Employee Resource Group, and was responsible at board level for activating a range of inclusivity programmes, including with partners such as Lexxic, Creative Mentor Network and Creative Access. Reports Chris Newbould, Prolific North.

You know that question, “So, tell me about your career and how you got to where you are now?” 

Yeah… that one. 

The one that makes your mind go completely blank, like, “uhhh… from last week?” Even though you know you’ve done things, your brain just refuses to cooperate at the moment. That’s exactly how I feel right now but I’m going to give it a go and tell you how I ended up being a creative producer. 

Before graduating, I was applying to jobs every single day . Laptop, phone – honestly, probably carrier pigeon if I could. Then one very normal day, I came across an assistant producer traineeship at Sky Creative, advertised by Creative Access. 

Fast forward two years, and I was an official assistant producer, working across campaigns and productions I’d only dreamed about being part of. My biggest flex? Working with Danny Dyer on two separate projects and him actually remembering me. I mean, maybe a big round afro helps, but I’m claiming it anyway. 

After an incredible run at Sky building my skills across sports, news, and entertainment, I felt the itch. Time for a rebrand. And really, when better to do that than in your 20s? 

Leaving wasn’t easy. Great team, elite snack breaks and freebies… the works. But I knew it was time. So, I did what any reasonable person would do, I booked a one-month trip across the Kurdish region of Iraq and explored more of Egypt. Side note: fun fact – did you know the first Neanderthal population was discovered in Iraq? You’re welcome. 

When I came back to London, I started looking at different opportunities across the creative industries to reignite my spark. Luckily, my good pals at Creative Access always have great masterclasses and free access to theatres and events lined up, so it made it easier to re-connect with people and get back into the flow. Thinking about it, Creative Access has always been there for me, even throughout my time at Sky. From the monthly book club sessions to regular check-ins, you’ll always feel motivated to keep exploring and putting yourself out there. It can be scary, but it definitely doesn’t have to be lonely when you’re first starting out. 

I think this is the perfect time to mention that I’ve been directing and producing my documentary, Scared to Be a Mother: The Black Maternal Experience, which focuses on Black women and the mortality rate in the UK, throughout my last months at Sky and up until now. Because I had this ongoing project, I was introduced to different communities and people across multiple fields, including the health and film industries. When I came back to London, I attended a free film screening hosted by The New Black Film Collective, who work to make the creative community accessible to everyone at no cost. I ended up connecting with the organisers over a passionate conversation about film and our shared interests, and later volunteered with them as a project assistant. During my time with them, I tapped into the world of festival programming and even hosted Q&A screenings and events. A new interest was unlocked in my mind. 

Months rolled on, and I am now working on multiple independent projects and expanding my network – from curating my first art exhibition featuring 17 amazing women artists back in March, to now doing a short course on furniture and spatial design with the V&A. I am continuing to explore and really figure out my creative practice, because one thing I’ve learned from my many adventures is that you don’t have to be limited to the industry you first started out in. It’s okay to jump around and figure it out at the same time.

I have many career aspirations and just as many creative interests. One day, I’ll build my own studio. I’ll produce for children’s television. I’ll keep telling important stories through documentaries, and I’ll step into the world of museums and public programming – creating experiences that bring people together.

Because for me, it’s never been about choosing one path. It’s about building a career expansive enough to hold all of them. That’s what makes me a creative producer.

So be bold. Be brave. Be daring.

Your creativity is there for a reason…So why not use it?

Stay in touch with Suda and follow her work:

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Our latest industry insights event brought the Creative Access community to Which? HQ for an evening exploring careers in consumer journalism, content and product testing. The panel featured:

• Jenni Allen, content director
• Jon Barroa, head of product testing
• Joanna Pearl, head of investigative research and service analysis
• Natalie Hitchins, head of home tech and lifestyle content
• Chaired by Creative Access CEO, Mel Rodrigues

From editorial and investigations to product testing and digital content, the conversation offered a behind-the-scenes look at the many pathways into the organisation and the skills needed to succeed.

Each panellist shared their journey into Which?, highlighting that there is no single route in.

Joanna started out as a social worker before moving into the NHS, then research, and eventually into her current role. Jon began in research and joined Which? in a junior position, progressing over time to lead product testing across thousands of products each year. Natalie studied journalism and applied widely for entry-level roles, building experience in smaller organisations before joining Which?. Jenni’s career also reflects progression within the organisation, showing how roles can evolve over time.

The common thread was not a perfect plan, but a willingness to explore, adapt and keep moving forward.

Across all areas of the business, our panellists agreed that mindset is just as important as experience. Curiosity, enthusiasm, authenticity and a willingness to learn were highlighted as key qualities.

For editorial roles, Natalie spoke about the importance of writing with personality and clarity, not just technical accuracy. Strong candidates show a clear motivation for the role and a genuine interest in the work.

Jenni encouraged attendees to think about what makes them stand out. Being able to articulate your strengths and perspective can make a real difference in an application. Fresh ideas and lived experience are valuable and can help shape the direction of the organisation.

For those looking to move into new areas, the panel emphasised the importance of transferable skills.

Joanna spoke about the value of combining research and communication skills, even if you are still developing both. Jon highlighted that technical expertise is not always required at the start. Instead, skills like analysis, organisation and attention to detail are often more important.

Project management and the ability to work across teams also play a key role, particularly in product testing, where coordination is essential.

The message was clear: you may already have more relevant experience than you think – the key is learning how to present it.

Progression at Which? is not always about moving up into the next role. It can also mean moving across teams, taking on new projects and building a wider set of skills.

Jenni highlighted the importance of relationship building and collaboration. Working well with others and contributing to a positive team environment helps build trust and credibility. Taking initiative, staying open to opportunities and bringing new ideas were all seen as valuable ways to grow within the organisation.

AI is changing the way content is created and managed, particularly by reducing repetitive tasks and allowing teams to focus more on creative work. At the same time, originality and trust are becoming even more important. With so much content available online, Which? continues to focus on producing reliable, evidence-based information that helps consumers make informed decisions. From investigating scams to testing products, the organisation’s work is rooted in cutting through misinformation and offering something genuinely useful.

Writing a strong, natural cover letter can make a big difference. Natalie encouraged candidates to sound like themselves and clearly explain why they want the role.

Jon emphasised the importance of making it easy for employers to understand your skills and how they relate to the job. Drawing clear links between your experience and the role requirements is key.

Joanna reminded attendees that applications are assessed against specific criteria, so addressing the job description directly is essential. While tools like AI can be helpful, your own voice and effort should come through.

After the panel, attendees took part in hands-on product testing activities. These included demonstrations such as testing a robot vacuum and comparing products across a range of categories. The evening ended with an open networking session, giving attendees the chance to speak directly with Which? teams.

To everyone who joined us, and to our partners at Which?, thank you for an engaging and insightful event.

If you are interested in hosting an industry insights and talent pool event with Creative Access, contact Stef Hall, our director of talent and outreach, today: stephanie@creativeaccess.org.uk

We sat down with Dr Laura Stephenson, senior lecturer in film and course lead for the BA film program at the University of Westminster, to chat about Screen Futures – an initiative designed to make film and television education more accessible to everyone.

So, what exactly is Screen Futures?

“Screen Futures is all about giving everyone a fair shot at studying screen production at university,” Laura explains. “It’s for anyone curious about film or TV school, and it gives a behind-the-scenes look at what admissions teams actually pay attention to in applications.”

The program offers six short videos guiding students through putting together a moving-image portfolio and personal statement. “Even if you’ve only made short films on your phone, these videos show you how to highlight your creativity and storytelling skills.”

Why did you feel it was important to start this initiative?

“Support can make a huge difference,” Laura says. “Some students have parents or teachers in education or the arts, or access to creative networks through clubs and activities. Others might be the first in their family to go to university or go to schools that focus mostly on traditional subjects. For them, applying to film school can feel daunting, or they might not even try at all.”

Screen Futures aims to level the playing field. “We want everyone to feel confident about applying, no matter their background,” she adds.

Why does accessibility and inclusion matter in film schools?

“It’s simple: a more diverse group of students leads to a more diverse workforce. The UK is celebrated for its arts and culture, but many talented screen artists come from privileged backgrounds. By opening doors for students from all walks of life, we can help create a screen industry that’s more representative, and that means more exciting, varied, and meaningful stories on screen.”

What are your top three tips for people applying to film school? 

1. Show you can work collaboratively
2. Don’t be afraid to take creative risks (be bold!)
3. Demonstrate you want to make meaningful films about real-world issues

What does a film school application actually need?
“Every school is a little different, but most will ask for a personal statement, usually 2–3 paragraphs explaining why you want to study the course, what experience you already have, and what you can bring to the program. Many will also ask for a short film or moving-image sample. And don’t worry it doesn’t have to be perfect. Even a film made on a phone with free software works, as long as it shows your creativity.”

Where can students find out more?

Students can visit screenfutures.org which is a hub where all the videos are listed. Alternatively, students can view the videos across social media: YouTube, Instagram, TikTok, Facebook, X and LinkedIn.

“It’s all about making screen education open to everyone.”

February’s masterclass took us to the Royal Festival Hall for an evening dedicated to demystifying creative careers in the arts. Delivered in partnership with Southbank Centre, the session explored the many routes into the creative industries and what it really takes to build a sustainable career in the arts.

Chaired by Creative Access alum Courtney Caton, internal communications & engagement manager at Southbank Centre, the panel featured:

• Cameron Christie, producing assistant
• Edith Kwakye, contemporary music programming assistant
• Joseph Granata, events & stewardship assistant
• Kyesha Nelson, commercial events officer

The session opened with remarks from Katie Dent, head of people & culture, who spoke about Southbank Centre’s commitment to access, progression and nurturing talent from a wide range of backgrounds.

A clear message emerged early on: there is no single, “correct” pathway into the arts.

Edith studied politics, writing her dissertation on grime music, something she still references in interviews today. Alongside her degree, she was DJing and building grassroots connections, not yet recognising that this cultural fluency would later become central to her programming career.

Joe began in architecture before realising it wasn’t for him. After drama school, he joined Southbank Centre in a front-of-house role. During a COVID-era training programme, he developed confidence presenting to large groups and collaborating across teams, experiences that eventually led him into development and fundraising. “Experimenting and trying as many things as possible is a good way to start,” he shared.

Kyesha’s career spans hospitality, fashion and commercial events. Her advice to the Creative Access community was clear: “Keep pushing yourself forward and advocating for yourself until someone opens the door and lets you in.” And when showcasing the transferable skills you’ve gained from working part-time jobs in interviews, Courtney reminded us how important it is to back yourself and trust in the skillset you bring to the table: “It’s not embellishment if you did it.”

The panel spoke candidly about insecurity, comparison and the pressure to have everything figured out.

Joe reflected on feeling anxious about not knowing his exact career path: “I felt like I should know what I wanted to do… What I’d say now is, it’s okay to make mistakes. Don’t be afraid to go for opportunities, even if they don’t work out.”

Courtney described graduating and thinking, “Now what?!” – a familiar feeling to many in the room. Her advice: “Be open to the opportunities where they come up… you have to stay open. It’s the best and worst thing about the arts.”

When considering what you actually want to do, Cam encouraged attendees to ask themselves three questions:

• What am I good at?

• What do I enjoy?

• What do I want to get better at?

Then, once you’ve got more clarity, reverse engineer the careers you admire. Hiring managers, he noted, are looking for people who can bring something new to their organisation. But, above all, they’re looking for passion and willingness to learn. Let your curiosity shine through and be open about the things you want to get better at.

For members of the Creative Access community navigating career transitions, the conversation around transferable skills was particularly powerful.

Joe’s move from visitor assistant to development team member was made possible because he understood event logistics, audience engagement and cross-department collaboration. That practical knowledge gained during his front-of-house work became invaluable in his new role.

Kyesha emphasised that administrative skills are universal: “One constant skill you gain from whatever level of education you’re able to attain, admin is a constant. Think about how you can bring that into your work and present it as expertise.”

From hospitality and customer service to university group projects, the message was clear: you likely already have more relevant experience than you think. The key is learning how to articulate it.

Courtney advised practising how you talk about your experience and avoiding overly specific jargon, instead, speak the language of the person sitting across from you and the culture of the organisation you’re interviewing for.

Building a creative career isn’t only about formal job titles, it’s also about relationships.

Edith reflected on how her DJ career and collaborations within grassroots music communities shaped her understanding of audiences and scenes. “I didn’t realise the cultural fluency that gave me.” Cam echoed the importance of authentic connections through building relationships with people who share your passion and bringing each other along as you grow. Courtney encouraged members to nurture the networks they’re building now: “Find common interests, build authentic relationships around shared passions, and continue to check in with the people you’re coming up with.”

The panel closed the conversation by bringing two essential themes together: valuing yourself and understanding what employers are actually looking for.

Edith spoke openly about imposter syndrome and the importance of not discrediting your cultural fluency or lived experience: “Stand firm in what you bring.”

Cam reinforced this with a clear reminder: “Understand your worth; never gift your time.”

While unpaid opportunities can sometimes offer exposure or experience, sustainability matters. If you do decide to work for free, think carefully about reciprocity, what are you gaining in return? And remember: it’s okay to say no.

From a hiring perspective, confidence in your value goes a long way. Across roles, the panel agreed that employers are looking for:

• Curiosity and enthusiasm
• Authenticity and genuine interest
• Creativity and strategic thinking
• Resilience and energy
• A willingness to ask questions and learn

We ended the night with an exclusive view of two exhibitions at the Hayward Gallery: Yin Xiuzhen: Heart to Heart and Chiharu Shiota: Threads of Life.

We’re also excited to be running the Creative Access x Southbank Centre mentoring programme – an incredible opportunity to gain tailored guidance and grow your network in the arts. Applications close on Friday 20th March 2026 at 12pm, so be sure to get yours in before the midday deadline. Click here to apply.

To everyone who joined us – and to our generous partners at Southbank Centre – thank you for an energising, honest and practical conversation about what it really takes to build (and sustain) a creative life in the arts.

While studying for the BA Television and Media Production at the University for the Creative Arts (UCA), Suda secured an assistant producer internship with Sky through Creative Access’s diversity and inclusion programme, reports Prospects.