Jenny Mathiasson
Why did you decide to become a freelancer?
I mostly had part-time museum roles in the past so freelancing was something I did to top up my earnings, but it wasn’t until the pandemic that I decided to do it full-time. I’d thought about it for a while and when my more traditional job hung in the balance in an impending restructure it was a no-brainer to finally leap! It was time to refocus and I’m so glad I did.
What would you say are the benefits of working in museum consultancy rather than in a museum?
Gosh, there are loads: you get to work with many different collections, you can combine skills in a way you maybe can’t in a more cookie-cutter role, and you get to build relationships with so many people all over the place. It’s perfect if you’re a bit greedy for variety! I love that I can have an impact beyond one or two institutions.
Freelancing also gets an A+ for autonomy: if I want to go for a walk to sort my thoughts out for an hour, I can do that. If I’d like to work 11-7, that’s what I do. And, as a person living with chronic pain, it also means I can put myself first in a way that’s not usually possible in a bigger organisation: my pace is set by me, my energy levels, and my other little quirks. It’s been very empowering.
How has the cost of living affected freelancing in the sector?
It’s been pretty brutal, especially for those of us working on projects that were budgeted for before inflation kicked off. I think we’d all like to up our rates or account for higher material costs, but a funding pot decided on two years ago doesn’t flex like that and that’s catastrophic for many of us.
On the slightly brighter side it’s also shown that there’s still compassion in the sector. I’ve heard of organisations holding off on studio or office rent hikes or raising supply costs to spare us a little grief, even if just temporarily. That sort of gesture goes a long way.
What skills do you think are most important for freelancer or consultancy work?
Getting your head right: it can be a wild thing to become your own manager and finding the right gear for you. I’m definitely still working on that, but if you can get in the right headspace you can do an awful lot.
What do you wish someone had told you about being a freelancer?
It’s the same piece of advice I wish people had shared with me when I went into conservation to start with: that you are your own best asset. You’re your own best tool. Look after your body and mind the same way you’d maintain a treasured hand tool or your best brushes.
But maybe swap the ‘wipe down with a damp cloth’ for ‘go for a walk in the sunshine’ and ‘use brush soap regularly’ with ‘figure out how to recharge your brain’ – it’ll be different for everyone but you have to look after yourself. That’s the most important part of the job, not the clients or the work you put on your CV.
What should museums be doing to support the wellbeing of freelancers in the sector?
In general the following gets you far: fair compensation, clear expectations, giving feedback and recognition, and making us feel part of the team even though we don’t work for just one organisation. Oh, and pay us on time so we don’t get more grey hairs waiting for those purchase orders and invoices!
You can find Jenny via @curatedjenny and @kuriosa_ltd on most platforms