In Good Company is curated by founder Laura Wellington.
Laura is a Place Maker, Creative Thinker, Designer, Positive Disruptor and the Co-Founder of The Wunderkind Group responsible for Duke Studios, Duke Makes Sheaf Street and Testbed.
A long term advocate for the collision of creativity and city development, In Good Company represents a formalisation of Laura’s existing work as an advocate, advisor, designer and independent business owner.
With the street art movement now firmly one of the most exciting, politically relevant and globally impactful artistic movements, In Good Company looks to work with the artists at it’s centre to shape Leeds’ future as a destination City.
In Good Company believes that architecture can become a site to advocate for a city. Be that in demonstrating a spirit of collaboration between art and business, to protecting and conserving the the artworks as a form of advocacy for creativity. Civic work is at the core of what we do.
We work with artists, developers and local businesses alike to support and champion what we do. The artists we work with are carefully curated, highly acclaimed and internationally recognised. Understanding the value that artworks can bring to the culture of a city, from inspiring joy, stimulating conversation and raising the profile of an area, the artists become international ambassadors for the ethos of In Good Company.
The building owners and developers that support In Good Company are champions of bringing big art to Leeds. Driven by an understanding of the economic and cultural value an artwork can bring to a building or area, the space and financial support provided by developers represents a long-term investment into the profile of their local area and the City as a whole.
The ambition behind the creation of these new landmarks in the city is to uplift local business within the areas, with a particular focus on independent business. With local cafes, shops, and independents acting as advocates for the artworks, we hope to ensure a second level of connection in the visitor economy.
ARTISTS
In Good Company acts as the curator, and as the bridge between artist and building owner. As a designer-led project, In Good Company looks to uphold the integrity of the artist’s work as paramount in conversations with the developers and property owners we work with. The project endeavours to give the artists as much creative freedom as possible, however, developer feedback must be taken into account and In Good Company will act as a mediator to ensure that both parties are satisfied. Ultimate sign off of the work will come from In Good Company.
To be clear this is a paid opportunity. In Good Company asks for the property developers to cover costs associated with the artworks, including artist fees, paint and crew costs, curator time, and if necessary scaffolding and other associated costs related to enabling the artwork to be successfully completed. We ask that artists provide realistic timescales and deadlines that are honoured, site visits to Leeds, open and trusting communication, and artwork that is true to the signed-off proposal.
Beyond this, we expect artists to advocate for both the artwork, the City, and In Good Company in communications around the artwork. This includes crediting In Good Company in all promotion of the work.
DEVELOPERS
In Good Company acts as the curator and commissioner of the artist and artwork, utilising an extensive understanding of current and lasting visual art trends and a deep-rooted connection to the creative industries. Something to be quite clear on is that working with In Good Company is not the same as commissioning an artwork: there is no design by committee, and the choice of artist does not come from the property owner. Although ultimately the proposed design must of course be signed-off building owners we work with, there is an expected degree of trust in the relationship between curator, artist, and building owner.
In order to enable an artwork, we ask building owners for financial input in order to cover costs associated with the artwork, including the artists time, paint and crew costs, curator time, and if necessary scaffolding and other associated costs related to enabling the artwork to be successfully completed. We also ask for a blank canvas for the artist to work on, this means ensuring a clean, safe and durable surface. We want this artwork to be a lasting asset to your building, and the fabric of the city, for people to enjoy years and years from now.
Beyond this, we ask for credit and advocacy of the work of In Good Company. This includes crediting In Good Company, and the artist, in all promotion of the work, and in all public and internally facing communications around the artwork. Future plans are to include a plaque on each artwork, with information on the artist and In Good Company’s civic work, for which we expect all collaborators to agree to hosting as part of the project.