Gráinne Gail McHugh

is creating ceramic sculpture
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Barbara Hepworth
per month

⤷ A straight-up vote of confidence. Unlock my quarterly newsletter. 

Contributing $3 works out as $0.69 each week.

Jenny Holzer
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⤷ Preceding benefit *plus* monthly work-in-progress photographs: a jigger of eye candy and studio sunshine.

Contributing $5 works out as $1.15 each week.

Louise Nevelson
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⤷ All preceding benefits *plus* first dibs on all direct sales.

Contributing $10 works out as $2.31 each week.




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About Gráinne Gail McHugh


It takes years of hard work to become an overnight success, right? The thing is, the folk that make it in the end are those that by hook or by crook keep on, keeping on. I don’t have a degree. I don’t have rich parents. I’m not married into money. I'm not dissing those things, I simply just don't have them. What I do have is a modicum of talent and a whole lot of heart.

As every business knows, success needs an ecosystem. Banks, governments and private funders spend many millions on business development for that reason. Artists are no different. Art doesn't come out of nowhere. It is made by people who also require nurturing and resources in order to grow more of the beautiful and soulful things that artists make.

Sadly, funding for the arts has been decimated, but that's a whole 'nother subject.

I’ve got this far. I’ve made inroads. I have had some success in Canada and South Africa where I have gallery representation. I have sold work to all sorts of folks from all over the world, but without steady support I can’t sustain working my craft full-time. Being my patron will give me that assurance that I can be bolder within an ever-widening circumference of possibility. With more security I can take more artistic risks like taking on time-intensive, bigger sculptural work.

What kind of work do I make? As I see it, I’m still serving my apprenticeship: I don’t have a specific obsession, but areas of, largely, figurative and graphic interest.  

I recently completed an artist-in-residence in Canada and produced this body of work about the so-called refugee crisis. Together with my partner, I also outlined an ambitious proposal looking at the global financial crisis of 2008. Alas, the latter is an illustration of being able to go so far but no further. We just didn’t have the money to execute the idea. Still, I’m proud of it and I include it here because it will give you a sense of what is possible with higher levels of support.

My bread and butter is a series of ceramic busts. This range, full of ambiguities, beautiful, cute, fun, but also discomposed, ironic and muted, I call Mistaken. If you are a fourth tier supporter you can enter a twice-yearly contest to win one of these highly collected pieces. 

I’m presently going through a Greek mythology phase and my work-in-progress folder should give you a sense of my current direction of travel.

OK, so, if you’re still reading and thinking about supporting me, on the right you can see my seven tiers named after female sculptors whom I greatly admire. If you are feeling generous, and have the means, every subsequent tier includes a corresponding benefit, incorporating the lower tier benefits as well. The primo Louise Bourgeois tier is as it states on the tin open to exploration. Want a piece commissioned? Perhaps, this is one way of financing it?  

⤷ If you don't have any funds, you can also assist by sharing my Patreon page by sending it to someone who might. Or just plug me on your social media channels. If everyone visiting this page did just that, well, I'd get some traction, and then some!   

Artists have always needed patrons and I’d be honoured if you decided to be mine. Doing so, you will help me blossom. From the bottom of my heart: 

$36 of $750 per month
Reaching this goal I can afford the rent of a decent, shared London studio with space and sunlight. I can feel confident when inviting prospective clients knowing that my studio doesn't look like I'm on my beam-ends. 
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