Accessible Art, Scalable Ideas: A Curator’s Vision

Can I create an achievable business model to support emerging artists, leverage available funding, and ensure scalability as a franchise?

Preface

This piece was initially written as part of my university coursework, a Personal Development Report that contextualises being a curator in my eyes, exploring my creative practice idea, the steps I need to take, and final reflections during the final year. I’ve shared it here as a way to document my journey and thinking at the time.

 Executive summary

Sour Frame is committed to facilitating, promoting and retailing the works of emerging artists by curating their work across the UK in various exhibition spaces, this document intends to outline my steps, research, thoughts, and goals as I develop my business plan.

The company will aim to give back to my community. From my experience as an illustrator intending to sell my work, it has revealed that art shops are overwhelmed with a backlog of stock they are selling, and online sales can also be challenging due to the abundance of artists vying for patronage. Experience has also indicated that it can be daunting to approach retailers, Sour Frame will alleviate some of that concern and provide support by creating spaces for emerging artists to display their work in multiple ways, such as exhibition spaces with help from staff and me as the lead curator, and limited run products featuring their work. Creating unique experiences would allow Sour Frame to push emerging artists into the spotlight nationwide at a much higher rate than just one centralised building. This company's strategic approach aims to function as a social space designed to attract high foot traffic while promoting artists and their work to the public.

As indicated, this project's trajectory is to develop into a franchise. In developing the first iterations, funding will be sought, such as the Arts Council England’s Cultural Development Fund, which I will explain in more detail later in this report.

Our commitment goes beyond just creating visibility for artists and creatives; we are also aiming to craft an affordable, safe environment that is accessible for emerging artists. Sour Frames' goal is to never take advantage of artists in their time or labour. The business will prioritise a model that is rooted in fair compensation, transparent agreements and partnerships.

The approach Sour Frame will take is going to be deliberately long-term. Each venture will be aimed at leaving a long-lasting impact on the attendees and community at large, for the benefit of the artists who need it, as we nurture the next generation of creatives and foster a space where they can flourish, creating a community across the UK.

Context

The job market for a curator is rather small. However, because I aim to create my own business, the need to find an employer isn’t necessary for me. However, while building up to this point and creating my business. I would like to work within the field of curation to gain the necessary skills that will help me be successful in the future when the time is right. 

Careers in the Arts can vary when it comes to employability as it’s an extremely competitive field that is constantly shifting in its trends but there was a “15.1 per cent increase between 2023 and 2019, giving the creative industries the highest longer-term growth rate of the areas of the creative and cultural economy that fall within the remit of the Department for Culture, Media & Sport (DCMS).” (Thecreativeindustries.co.uk, 2024) and these numbers are predicted to rise, whilst at the time of writing the current statistics aren't available for 2024 if the last five years are anything to go by then we will see continuous growth in the creative sector. 

While writing this, there are 18 jobs listed on Indeed under the search for Art Curator, and only 7 of these are actual curatorial positions. While the expected growth is reassuring in terms of long-term planning, the current market field shows little to no promise for a career.

This theme isn’t only applicable to curators as “Only ten percent of art school graduates make a living from their artwork” (Byrne, 2016) which ties back to my overall mission statement for Sour Frame.

Whilst I’ve been unable to find the exact numbers of how many art school graduates there are per year to get a rough average, it doesn’t change that only ten per cent is incredibly low, showing the need for more opportunities to be given to these emerging creatives. 

Upon further research, I saw that “The University of Glasgow researchers who worked on the report found that visual artists had a median annual income of £12,500, 47 per cent lower than the income of full-time minimum wage workers (£23,795). 80 per cent of the 1,200 creatives surveyed said their earnings were “unstable” or “very unstable”.” (Dazed, 2024) so even when the ten per cent find jobs, they are still struggling in our current climate. 

This reveals a need for more creative opportunities and spaces for artists to earn a stable living wage which I hope to aid in, however, “Dealer and gallery businesses are growing in number – a 14% rise throughout the UK since 2019”(Tbamf.org.uk, 2023) showing that there is a continuous and expected market growth and would indicate a rise in jobs.

Whilst my main role will be as manager/owner of Sour Frame, the intention is to also serve as the primary curator as well. Jackson-Dumont (2010) describes curatorship as “curating experiences” (Jackson-Dumont, 2010) yet it would appear there is much more to the role that we don’t see “Museums and galleries typically employ numbers of curators whose role it is to acquire, care for and develop a collection. They will also arrange displays of collection and loaned works and interpret the collection in order to inform, educate and inspire the public” (Tate, 2017). Thus, there is a need to understand how curators acquire, care for, preserve work and how this displayed in art in an interpretive manner.

Thus, it would appear that there is a lot more to the role, particularly in the cases of smaller galleries or exhibitions that don’t have the privilege of a prominent artist being shown or the event/venue in which it is being displayed at, this can even happen with larger known galleries, for example the National Gallery in London hosted exhibitions throughout 2012 , featuring lesser known artists, such as Pompeo Batoni who’s “exhibition drew only 19,000 paying visitors, far below the expected 35,000” (Nassif, 2012)

The curator must also fall into the role of promoter and event organiser, whilst I do plan on outsourcing some help when it comes to this, it’s an interesting part of the job I don’t feel like is highlighted enough, even though it's quite crucial to an event. An example of another event seeing an unfortunate turnout would be “The National Gallery's 2008 exhibition Radical Light: Italy's Divisionist Painters 1891–1910 experienced a significantly lower turnout than anticipated. Despite positive critical reviews, the exhibition attracted only about 30,000 visitors over its three-month run—far short of the projected 50,000 attendees” (Nassif, 2012) however the exhibition was marketed loudly The Gallery issued an official press release that highlighted the exhibition as “the first major exhibition in the UK devoted to this important but little-known movement” (National Gallery, 2008) it was also promoted via the National Gallery’s e-newsletter these efforts show a push to promote the show however this shows that with only having smaller names attached the exhibition it was unable to attract the turnout it was expecting The Independent commented that the exhibition might only appeal “to anyone trying to plug a few remaining gaps in their knowledge of the period” (The Independent, 2008). For me, this reinforces the idea that even with their efforts to promote the show, the smaller names and more niche focus made it less attractive to the wider public and caused its downfall.

Although the opposite can also be true, a smaller gallery can achieve surprising success by featuring the work of a prominent artist. In 2023 the Orange Regional Gallery hosted an exhibition that was "visited by over 8000 people and also saw the gallery have its busiest ever single day with almost 600 people coming through"(Orange City Life, 2023). The Gallery Director Brad Hammond commented, "Yes, this has been one of the most successful in the gallery's history," showing that a notable name can bring large success to lesser-known galleries.

Another role that isn’t included in the staffing of museums is the role of a merchandiser. The curator often oversees the sale of art and works as the middleman between the artist and the buyer, the curator will often take a percentage of the sale as their fee, this adds another level of pressure to the role as this will not only impact their income but also the income of their client, the Artist.

Curators have a stronger hand in the sale of work than I had originally thought. ‘15 Leading Curators Predict the Defining Art Trends of 2024’ (Rabb, 2024), this article shows that curators not only have to stay on top of trends but actively try and stay ahead of them. Therefore, it appears Rabb is saying that a curator may need to constantly be on the lookout for how the market trends are changing. A second part to note is within the article each curator has their prediction for what the defining trends will end up being, with these curators being ‘leading’ in the field, they will have an impact on the market as many of their decisions will have a ripple effect impacting the overall trends on exhibitions across the field due to their notoriety and the number of people that look to them for trendsetting.

Damien Hirst, “a leading artist of his generation” (White Cube, n.d.), is known for his provocative work, creating a moment in time of art. “…he first exploded into the public consciousness in 1991 with The Physical Impossibility of Death in the Mind of Someone Living, a fourteen-foot tiger shark preserved in a tank of formaldehyde” (Gagosian, 2022), Hirst then continued to create push the boundaries of art in his own way, with shocking sights and thought provoking messages. Hirst deserves recognition for his work; however, another player was involved in his early career success: “that his meteoric rise was orchestrated by a notoriously cunning advertising executive, Charles Saatchi” (Delikat, 2017). Saatchi began collecting the works of Hirst, as well as a few other artists involved in an exhibition called ‘Freeze’, these collected works were later shown at “the Saatchi Gallery between 1992 and 1994 in a three part series” (Delikat, 2017), then the work went on the road as a travelling exhibition called the ‘Sensation: Young British Artists from the Saatchi Gallery’ this show, known for it’s provocative and unconventional nature and spurred on by Saatchi’s publicity engineering is what created and uplifted a “group of artists came to be infamously known as the Young British Artists (YBA’s) and it is within this context that Damien Hirst began his career.” (Delikat, 2017).

This shows that even the biggest names in art can benefit immensely from the support of a gallery.

While Saatchi was already a known name within the art world, he could complete my business statement. Even though he is not a curator, Saatchi is most notably an Art collector and the founder of The Saatchi Gallery. Rebecca Wilson is the “Chief Curator and VP, Art Advisory at Saatchi Art” (Saatchi Art, 2025); Wilson orchestrated the “New Sensations, a prize for art students which identifies and supports the most exciting emerging artists in the UK” (Saatchi Art, 2025) in partnership with Channel 4, the New Sensations competition ran for a few years but seemingly stopped in the mid to late 2010s. This opportunity could have proved instrumental in the rise of artists who made it far in the competition, assisting them in gaining name notoriety and being able to display their ranking within their biographies and awards, which is a common practice many artists use on their websites as a show of their achievements.

“If I wanted to curate exhibitions, then I should under no circumstances do what anyone else was doing- just giving the artist a certain room and suggesting that they fill it” (Hans Ulrich Obrist and Raza, A. 2016, p.10) as a curator I will have to keep up with the trends being set by more notable names however, distance myself enough that my exhibitions stand out, it would seem as though there is a lot more to this role than I had originally thought however, “A young curator could find great value not only in working in a museum, a gallery, or on a biennial, but also making artists’ dreams come true” (Hans Ulrich Obrist and Raza, A. 2016, p.11), whilst the curator has a lot to accomplish it should not come in the way of artists’ vision for their exhibition, after thinking this over I believe this falls in line with my mission statement for Sour Frame as within this role I would be able to uplift emerging artists directly.

But the question remains: “Who is the curator? The director? The producer? Or an exhibition babysitter?” ( Zhou, Z., 2020) Or a plethora of other roles. The title of curator, beyond just a job title, varies day by day, becoming an array of roles. “From the preparatory stage of an exhibition to the official installation, the curator's identity has undergone multiple transformations. For example, he was an organizer and a curator before curating, and he would also be a commentator after curating.” (Zhou, Z., 2020) The curator must stay ahead of changing trends and help realise the artists' dreams.

An example of a similar business model to what I aim to create is Sofar Sounds. It is known for revolutionising the live music scene by using a mix of creative marketing that creates customer engagement and excitement and a choice of unconventional venues. Their model emphasizes creating unique experiences that craft deep connections between artists and audiences. As noted by Sofar Sounds, they aim to "connect artists and audiences through unique and intimate experiences" (Sofar Sounds, 2025).​

One of Sofar Sounds' standout features is its element of surprise; attendees purchase tickets without knowing the performers or the exact location, which is disclosed only 24 hours before the event. This approach "creates an environment where artists and fans can truly connect"(Rothwell, 2023) by focusing attention solely on the music and the shared experience; creating Sofar Sounds crafts a unique brand identity through this approach.

Sofar's commitment to artist support is evident in their profit-sharing model. In many cities, artists receive a significant portion of the ticket sales, with the company stating that "artists are paid based on ticket sales" and that the "current profit split in the average major city... is 63% to 37% in favor of the artists" (Wikipedia Contributors, 2024), this shows that performers are fairly compensated for their time and work.

Planning

Through Sour Frames, I will create a safe space for emerging artists to hold exhibitions of their work and give them real opportunities for exposure, networking, and income. Through what I hope to turn into a nationwide company, we’ll host pop-up exhibitions to showcase new artists and their talent outside of traditional gallery spaces, making it more accessible for them.

This will hopefully bridge the gap between emerging artists and possible buyers, clients, and collaborators, building visibility and commercial opportunities for the artist and Sour Frames.

I aim to turn all these pop-up exhibitions into unmissable, limited-run events, each highlighting an up-and-coming artist with a message behind their work. Creating a unique event will attract customers with a cause they can support.

Hopefully, this company will create a new network for artists and lovers of art in general, valuing diversity, originality and equal opportunities for all.

In addition to the sale of work during exhibitions that spotlight a specific artist or collective, I also plan to host a smaller shop at these locations, allowing clients who may not be able to afford the work in the exhibition or who want something to commemorate it to purchase some items. For this, I intend to license work from artists and gain limited-run merchandise of their work, such as prints, to feature on tote bags, postcards, and more. This would help supplement the income of artists who may not have enough work for a full exhibition but still need assistance gaining notoriety and revenue. This strategy will also aid in scouting new artists to showcase in exhibitions. By analysing sales information from the shop, I can identify which art sells best, where in the country it sells best, and use this data to predict better the feasibility of hosting exhibitions in these areas and determine the best art to show there.

By platforming and collaborating with new artists, I can facilitate a constantly rotating stock to prevent staleness in what's on sale. Additionally, this approach will keep each exhibition fresh and new, aiming to increase footfall and promote the idea that each event is unique and unmissable. Hopefully, this strategy will generate buzz around the events in conjunction with the promotional work and effective marketing strategy that I will also implement.

A large part of my sales strategy is to create these unique ticketed experiences that people won’t want to miss. I am not only selling art but also providing an experience for customers by creating events that they will want to share online and take their friends to as soon as another one comes around. Not only will this hopefully improve sales, because people will want something to remember this by, but if I create a membership and/or a returning customer discount, I can create a strong returning customer base and a loyal network of consumers. To elevate this crafting of experiences, I can implement strong thematics, costumes and music to be able to transform the exhibitions into more than just showing the work, but also creating a space that works the themes and messages behind the artwork being shown into the space itself, tying everything together to help the audience understand the meaning of the work and promote the work.

My target demographic is focused on individuals aged around 30 to 50, My reasoning for this is grounded in both strategic and economic considerations. This age group is typically financially stable enough to have disposable income, with “the median annual salary for full-time employees aged 30–39 was £39,988, and for those aged 40–49, it was £42,796 in 2024” (Forbes Advisor UK, 2024). Meaning they will be more likely to engage in cultural and creative experiences and events on a regular basis.

From a marketing standpoint, they also fit what I need with “Younger audiences proved much more likely to engage online, with about two in three of those aged 16-34 doing so compared to less than 30% of those older than 55” (The Audience Agency, 2022)​.

While my primary focus is on a more mature audience, I also want to ensure that younger audiences are not overlooked. Therefore, it might be worth trying something like what the National Portrait Gallery did with a show in 2024 when they pledged to “let in all visitors to this show who are under 25 for £5 instead of the adult price of £16” (Thorpe, Arts and Correspondent, 2024). Bank of America supported this effort by allowing such a large discount, and I could implement a smaller version. The pledge for the under-25s ticket discount paid off as “£5 tickets for the two opening shows attracted more than 21,000 visitors, and the number of people aged 16 to 34 who are visiting us has increased by 34%”(Thorpe, Arts and Correspondent, 2024). If I want to create strong networks and loyal customers, then creating these accessible experiences for young people will also be important, since they are more likely to post about it. When they grow up and have the disposable income to purchase bigger pieces of work, they may be more inclined to do so because they have experience with Sour Frame. This reduction in ticket cost meant that “63% of the young group of these visitors, the ones under 24, had never been to the gallery before.” 

Sour Frame’s marketing strategy for pop-up exhibitions focuses on creating buzz and increasing foot traffic through a dynamic combination of social media engagement and word-of-mouth promotion. We will use apps such as Instagram, TikTok, and Facebook to showcase artist spotlights, behind-the-scenes content, and real-time coverage, encouraging shares and interactions to grow our reach and impact naturally.

The strategic use of hashtags, influencer partnerships, and geotargeted posts will create local excitement leading up to each event. Our approach centres on human behaviour and emotional engagement, aligning with Brian Solis’ view that “social media is about sociology and psychology more than technology” (Solis, 2011).

Simultaneously, we’ll cultivate a community of brand ambassadors, artists, attendees, and local creatives, who will amplify our message through personal recommendations and social sharing. Jeff Bezos notes that Word-of-mouth remains a trusted and powerful tool: “If you do build a great experience, customers tell each other about that” (Bloomberg.com, 2004). This dual-channel approach will create a sense of urgency, exclusivity, and community that fuels attendance and ongoing interest in future pop-ups.

Sour Frame could offer a returning customer discount to enhance engagement and strengthen a loyal community. There are multiple ways to implement a system like this, such as a discount on tickets or possibly a free drink, something to make the attendee feel special and warm them to us. We can also offer an exclusive reward for attendees who have visited multiple events, which will incentivise repeat visits and help spread word-of-mouth as satisfied customers become active promoters. We can introduce a membership program designed to provide early access to events, exclusive previews of artists' works, loyalty benefits, and special discounts.

Important to note, this strategy is not a short-term campaign; it is a multi-year approach. Building a committed audience and engaged community takes time, trust, communication, and consistency, along with the effort we’ll put into crafting these events and the hospitality towards the attendees. As Seth Godin observes, “Marketing is no longer about the stuff that you make, but about the stories you tell” (Institutional Adviser, 2021), which speaks to the importance of creating meaningful, ongoing narratives that resonate with local audiences over time. We will begin with small, curated events in key locations with high foot traffic and where creative scenes are already active. These can serve as pilot activations to test new ideas or initiatives on a small scale before our widespread implementation. This will be a great way to fine-tune our approach, build a rapport with local businesses and potential attendees, as well as to identify ambassadors organically. Over the course of time, as loyal communities and networks develop in each region, we will expand outwards. Establishing a network of pop-up galleries rooted in strong, loyal, localised communities.

As W. Edwards Deming noted, “Profit in business comes from repeat customers, customers that boast about your product and service and that bring friends with them.” (Amit Ashwini, 2022) . By focusing on community engagement and slow, authentic growth, we can develop a passionate support base that fuels word-of-mouth promotion across regions, eventually building the brand into a national presence within the creative arts space. At its root, the brand focuses on the platforming of emerging artists.

With this, I aim to create a scalable model that values and ensures long-term sustainability over short-term hype that quickly dies out.

To allow Sour Frame to be successful long-term, I will aim to create a strong, recognisable brand identity in a way that will stick with people so that they will remember us when the exhibition ends. Due to the nature of operating as a pop-up company, we’ll constantly be coming and going from locations, so it’ll be important to telegraph who we are. We will try to achieve this through a consistent and clear look and feel across all aspects of the brand, through the logo, marketing and how we interact with customers. In time, as the campaign progresses, we will aim to build something that attendees feel connected to and will talk about even after we’ve gone and, in the lead up to a new installation, as branding expert Marty Neumeier puts it, “A brand is not what you say it is. It’s what they say it is” (Neumeier, 2006).

One way we will do this is to give each pop-up its own identity, unique theme, and message, something that reflects not only the work being shown and the focus of the exhibition but also the artist and the community. We will approach each show with individual care, crafting its own visuals, colours, and story. Still, with the same style and small aspects styling back to Sour Frame and the core message behind our brand, the overall message we want to push is the protection and uplifting actions we strive for.

This will be pushed through signage, marketing, and social media posts, even with our shop using merch and takeaway Zines. We want to be able to connect with our audience, so when they leave, they will have connected with the message and art on a deeper level, crafting a memorable and meaningful brand, wherever we pop up next.

To make this business more realistic and achievable, I plan to use multiple grants and funding opportunities. Sour Frame will aim to access publicly available funding strategically tailored for creative and socially impactful initiatives.

One such opportunity is the Churchill Fellowship, which allows UK citizens to travel internationally to research innovative ideas to enrich the UK. “our aim is to fund new ideas and innovative practice that have the potential to transform lives and communities” (Churchillfellowship.org, 2021) this aligns with my goals to constantly learn and experience new perspectives and develop my skills and creative eye. I will explain in more detail the need to constantly be on the lookout for new exhibitions and artists in this document's Professional Development Focus section.

Another useful fund is the Arts Council England’s Cultural Development Fund (CDF), this resource supports transformative and creative cultural initiatives. CDF perfectly aligns with the core approach of Sour Frame, our community-rooted arts aim, as its goal is to “unlock local growth and productivity, support resilience in the sector, and build stronger creative and cultural communities” (Arts Council England, n.d.). To apply for this, I’ll need to have an initial Expression of Interest, then a detailed proposal, and demonstrate a collaboration with local groups and authorities or strategic partnerships, all of which I naturally plan to foster.

I intend to apply for the Developing Your Creative Practice (DYCP) fund to support my business's growth further. Arts Council England notes that the fund “allows creative practitioners to focus on their own creative development, making a step-change in their practice” (Arts Council England, 2019).

In addition to the grants, I will explore more social investment opportunities through the Arts & Cultural Impact Fund, the first UK investment fund that is dedicated to the arts. This resource offers repayable finance ranging from £150,000 to £1 million for organisations “that are using arts and culture to improve people’s lives” (Figurative, 2025). This option is particularly well suited to my goals as it will assist in being able to scale up without sacrificing the ethos that I hold for Sour Frame, this being the accessibility and affordable pricing for the attendees and artists.

The final resource is the National Lottery Project Grants, which I plan on using to support individual pop-up exhibitions. Arts Council England states, “We want to support projects that create new connections between communities and creative practitioners” (Arts Council England, n.d.). Due to the grants' rolling deadlines and flexible funding amounts, which means I can try to utilise it as and when opportunities arise for it.

As you can see, there are multiple funding options for me to use. The resources above can assist me in research, development, project delivery, ethical scaling, and the protection of emerging artists.

To assist me in running Sour Frame, I plan on using K3’s MStore. All businesses need a point-of-sale system to be able to trade, and whilst researching my options, I investigated multiple company options but decided on K3’s MStore product for its large range of capabilities and implementations. K3 describes MStore as “the all-in-one Point of Sale system that manages your ticketing, sales, membership, fundraising, event planning and email marketing in a single location. With seamless integration capabilities and access to Gift Aid, your entire organisation can be run via a single solution to drive efficiency, streamline operations, and deliver a smooth visitor experience.” (K3, 2024) This alone will greatly aid in the running of Sour Frame.

It's also the most effective for its scalability and adaptive retail capabilities, offering a robust omnichannel platform designed to adapt to physical and digital retail environments. K3 Business Technologies states that “MStore provides a consistent and seamless experience across all retail channels” (K3, 2024).  This will assist in keeping all our transactions and information uniform, even if multiple exhibitions are running simultaneously. This is particularly important for Sour Frame’s model, which constantly moves between locations and relies on in-person and online customer engagement.

One of the key strengths of MStore is its mobile POS capability, which allows sales to be processed on tablets and handheld devices, ideal for pop-up formats due to its ease of transportation and set up. K3 describes this as “the power to complete transactions wherever the customer is—whether on the shop floor, at a pop-up event, or even offsite” (K3, 2024). For our business, this means staff and volunteers can offer an easier, person-centred customer experience by moving freely around the space, reducing queuing and enabling interaction at the point of interest. In a flowing and dynamic exhibition setting, where engagement is informal and dispersed, this enhances accessibility and encourages impulse purchases due to the personalised care and interactions, benefitting both the business and the artists showcasing work.

MStore also excels in inventory control and transaction tracking, both essential in a business model where multiple emerging artists contribute work, whether it be the exhibition itself or the work used in the shop. As K3 notes, “MStore gives real-time visibility of stock levels and sales performance at SKU level” (K3, 2024), allowing us to monitor what sells, from whom, and where. We can then use this data to identify what art will sell best in what regions, market trends, pricing adjustments and it will allow us to make sure we have the ability to be transparent with the artist we are working with in an attempt to build a connection with them, staying true to our mission statement.

This product also integrates customer data and loyalty features that will allow us to build meaningful relationships with our attendees which as stated before will be greatly beneficial to Sour Frame. According to K3, “the platform enables the capture of customer details at the point of sale, offering opportunities for personalised communication and future engagement” (K3, 2024). MStore’s customer relationship management (CRM) tools provide the infrastructure to facilitate all the business engagement needs to create the community I aim for.

K3 can build multiple unique features into MStore including an analytics hub like PowerBI, which has reporting features that provide essential insights that will help us demonstrate our social impact and make informed strategic decisions. The system can offer breakdowns of sales trends, customer behaviour and engagement, and location-specific performance.

I can also input external information using data that I could license from Data brokers. These companies collect and store information from various sources, then sell or license this data to other businesses for purposes like targeted advertising, marketing, and pricing guides. This will be a great asset in planning a location with viable options to host pop-ups, what art will be best suited, and the ideal prices to make it affordable and accessible for that area. As well as project estimated footfall using geolocation and demographic overlays, this will help us identify where we may need to grow and how best to adapt to strengthen the business.

K3 highlights that “MStore empowers businesses with real-time data that supports smarter decisions and drives commercial success” (K3, 2024). This is particularly useful in our funding applications and evaluations, where we must evidence the outcomes of our exhibitions and reach, ensuring our work remains aligned with business growth and community benefit.

Ultimately, K3 MStore supports every aspect of our business model, from managing artwork and processing sales, building customer loyalty and enhancing engagement, as well as planning future programming based on real-time evidence. It is a platform that allows us to scale responsibly, remain artist-focused and root our practice in community insight and honesty with our community, by choosing MStore it's not just a technical decision; it is a strategic choice that aligns with our values, growth ambitions, and commitment to giving back to the creative community.

Establishing this mobile pop-up business that platforms emerging artists across the UK requires an upfront investment in professional and portable infrastructure. Our initial set-up costs are designed to grant operational efficiency and structure, creating ethical artist engagement and prioritising transparency, accessibility, and a professional attendee experience.

The first large-scale investment lies in acquiring the point-of-sale system, with K3 MStore selected for its various capabilities and applications that I've already laid out. The cost for "per til annually is £1500 plus any extra features"(Brown, 2025). To operate MStore in mobile settings, we will also invest in multiple POS devices. The cost of these varies, but the Square portable card machine "lets you take payments, process returns, and manage your business smoothly on a compact, cordless device."(Square, n.d.) only costs £178.80 (including VAT) per device and is industry standard.

Another needed asset is Bluetooth receipt printers, which are essential for the business, allowing us to prove and keep track of transactions. However, if I choose to use the Square portable card machine, then I won't need to make the extra purchase, as this device includes a built-in receipt printer.

We also need a mobile Wi-Fi hub with a data SIM because the card machine and POS systems can't run without it; for the best usage, I'll need to invest in one with a fast and strong connection. Based on my research, I believe the best one for my needs is the Nighthawk M6 Pro. This mobile router can "connect up to 32 devices simultaneously"(NETGEAR, 2025), allowing for great flexibility with devices, and it also has a "Long lasting battery for up to 13 hours on a single charge"(NETGEAR, 2025), meaning I shouldn't have to worry in regards to it lasting through the day at the pop-ups. Finally, it also covers "Up to 1,000 sq. ft"(NETGEAR, 2025), meaning that they should be covered wherever the devices are in the exhibition.

To create a unique and engaging exhibition space, we will invest in modular display walls that can be easily assembled and transported. This flexibility will allow us to adapt to different venue sizes while maintaining a consistent brand aesthetic. It will also allow us to change how attendees interact with the space, aiding us in creating differing experiences should we use the same or similar spaces more than once so that each experience is a tailored event of the artist and theme we're displaying. However, if possible, I could collaborate with nearby set designers and contractors to better align with my mission statement, as it would allow me to financially assist them, giving them paid work as well as being able to platform their work in marketing materials as collaborators. They can enhance the immersive exhibition environment, which is essential using their trade skills in rapid installation and spatial transformation to aid with the needs of temporary pop-up exhibitions.

To get to these venues with all the equipment I'll need to acquire transport, I could purchase a used or leased transit van, estimated at £5,000–£8,000, as it will be essential for transporting artworks and staff. Another idea to consider is that "secure storage is critical for safeguarding creative assets, especially for mobile cultural programmes."(Arts Council England, 2018), meaning we can protect materials between locations and pop-ups. I anticipate renting a storage unit to store equipment, offering security and flexibility.

Professional Developmental Focus

Unfortunately, the curation field will be a challenge for me to enter due to my choice of degree. I’m currently studying for a BA (Hons) in Illustration, which differs from the recommended courses for this field. The courses that have the most notable advantage over me are Art History, Fine Art, and Conservation. However, I could aim for a Master's in Conservation, using my illustration degree to access the course. This would be an MA by research course where I could focus specifically on art. This could help me get my foot in the door for a job in curation so I can work my way up the ladder from there.

An alternative route for me could be pursuing volunteer work; many galleries offer volunteer programs during their busier seasons, as well as for events, such as at the Ferens Art Gallery in Hull, “join our volunteer group of young creatives, curators and promoters. They work with Ferens Art Gallery to devise and curate all kinds of exciting art-led activities.” (Hull, 2025). This would allow me to build not only my skills as a beginner curator but also to create a social network with emerging creatives that I could utilise in the future. While in Lincoln, The Collection and Usher Gallery offer “plenty of time to see and experience the exhibition, you will be invited to special events for Exhibition volunteers to meet the artists, and our Exhibition’ Team” (Exhibition Team Volunteers Role Description, n.d.), opening up the opportunity to speak directly to experienced artists and staff about the role and potentially seek guidance from them.

In ‘A Brief History of Curation’ by Hans Ulrich Obrist, Anne d’Harnoncourt is asked what advice she would give to young aspiring curators, and she says, “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking” (Hans Ulrich Obrist, 2008). This leads me to think that getting as many opportunities as possible in a variety of different exhibition settings will help me hone in on what makes an exhibition work. I can also attend as many exhibitions as possible to develop a better understanding of the audience, seeing shows from their perspective to better understand what is currently on the market, as well as how competitors choose to host their exhibitions and the types of art that they platform. Another option to learn would be to subscribe to art publications and see the artists they choose to spotlight, which will aid me in having a greater understanding of what work will sell.

These steps to develop my skills will also assist in ‘Sour Frame’ staying on top of market trends. By using competitors' exhibitions and art publications, I will aim to identify commonalities. With a critical eye, I hope to see what is worth pursuing and which exhibitions will be successful, while also understanding when it won’t work. It will be in Sour Frame's and the chosen artist’s best interest to pursue a different direction. Using these sources of information in tandem with the information I will eventually have access to from using the analytics hub in MStore, that being my own data, which will grow as Sour Frame continues to host exhibitions and the information I can license from Data brokers to create a strong grasp on what the market trends are and project how they will change allowing the business to thrive.

I can also input external information using data that I could license from Data brokers. These companies collect and store information from various sources, then sell or license this data to other businesses for purposes like targeted advertising, marketing, and pricing guides. This will be a great asset in planning a location with viable options to host pop-ups, what art will be best suited, and the ideal prices to make it affordable and accessible for that area. As well as project estimated footfall using geolocation and demographic overlays, this will help us identify where we may need to grow and how best to adapt to strengthen the business. Hendrith Vanlon Smith Jr. asserts, "Adaptability is the new superpower in business - embrace it to thrive" (Smith, 2023). This mindset will be important in developing my business, especially in the beginning, as I learn more about how to run my business effectively.

While I do have several years of experience in hospitality and event-based hospitality, I am aware that my direct experience in management is limited. To successfully sustain this pop-up exhibition company, I will need to develop core management skills.  One way that I can go about achieving this is by going down the path of formal training, as according to the Chartered Management Institute, “Management apprenticeships are a great way of developing new and existing managers - helping them to learn new skills and successfully apply them straight into the workplace” (CMI, n.d.) using short courses and/or formal training courses focused on leadership, operations and financial planning in tandem with developing my creative skills, should greatly assist me in running Sour Frame. In addition to formal learning and my volunteer work, I can seek mentorship from creatives and entrepreneurs who will provide me with valuable insight and a critical perspective on what I aim for. I may be able to build a working relationship with some of them through volunteer work in the galleries, as I’ve already highlighted.

While researching, I came across a great point: "Mentoring programmes are led by a fellow professional who will help you bring out the best of your skills. They won’t direct you, but will guide, advise and constructively challenge – a great option for leaders looking to build on the skills and knowledge they already have, or define and achieve long or short term goals.”  (Arts Council England, 2022) By pursuing structured training and professional mentorship, I will be better equipped to transition from my hospitality background into a capable manager who can confidently guide a dynamic, community driven arts organisation.

In addition to strengthening my managerial skills, building meaningful connections across adjacent industries outside of the creative and arts industry will be essential. One such industry is finance, as “cross-sector partnerships can foster collaboration, facilitate knowledge exchange, and enable collective efforts to tackle complex issues that may require an integrated approach” (Davidson, 2024). Developing networks like this will help me in understanding the financial infrastructure needed to run Sour Frame effectively, as working with small business finance advisors can help fill the gaps in my knowledge. Another benefit to this approach will be giving me the option to access advice on cash flow management, tax strategy, and grant navigation, which are crucial tools in ensuring the financial sustainability of my business, with this I can create these connections through attending local enterprise partnership events and participating in accelerator programmes.

By cultivating a vast network across the arts, culture, hospitality, finance, and community sectors, I can stay aware of industry changes and trends and use partnerships to hopefully stay ahead of them. “Networks are critical in helping creative entrepreneurs spot trends, test ideas and gain credibility in competitive spaces.” (nesta, n.d.), so if I can correctly leverage these connections, they should lead me to mutually beneficial partnerships and a great reputation for being a business willing to work with others. By choosing the right companies and platforms, I can grow Sour Frame on the scale of our reach and ability to complete its mission statement, the business’s professional integrity, and its social and cultural relevance.

As I work up to launching Sour Frame, it’ll be essential that I understand and develop a solid understanding of copyright law, licensing and the relevant legal regulations that I’ll need to so that Sour Frame stays ethical and compliant. Understanding copyright laws will be especially important as I want to ensure that I don’t unintentionally infringe on their rights, whether from the exhibitions or selling work through the gift shop. “Copyright protects your work and stops others from using it without your permission” (UK Government, 2024), which will be incredibly important as I’ll be displaying the artist's work, but more importantly, is how it will relate to licensing the artwork from creatives for the shop, at no point do I want to unintentionally take advantage of the artists that I’m trying to platform. This understanding will have benefits outside of just the gift shop and the exhibitions, as it does affect other aspects of the business, such as promotional materials, websites or merchandise.

Finally, understanding the broader legal landscape of running pop-up exhibitions is essential, from acquiring Temporary Event Notices to ensuring health and safety compliance, accessibility and insurance. Platforms such as FutureLearn offer short and very practical courses tailored to small business owners in the creative sector. By proactively learning and applying these legal principles, I can ensure the business is run responsibly, protects artists, and meets all regulatory expectations.

Conclusion

By Establishing a mobile pop-up exhibition company that champions emerging artists and connects meaningfully with a multitude of communities across the UK presents a compelling and timely business proposition, and a clearly defined mission to give back to the community through accessible, fair, ethical, artist-first programming, this venture aligns with the growing public interest in grassroots cultural experiences and inclusive creative ecosystems inspired by successful models such as Sofar Sounds. Who aims to “connect artists and audiences through unique and intimate experiences” (Sofar Sounds, 2025); this business stands to carve out a distinctive niche by combining mobility, creativity and social impact.

While the setup costs will be considerable, they are still relatively modest compared to fixed-location galleries. Essential investments in POS systems like K3 MStore, digital tools and transport ensure operational efficiency. At the same time, flexible alternatives, such as collaborating with theatre set designers who offer cost-effective and imaginative approaches to exhibition design.

Sour Frame's feasibility is strengthened further by the availability of public funding initiatives such as the Churchill Fellowship and the Develop Your Creative Practice fund, amongst others that I've outlined earlier in the report. They can assist in achieving goals or making equipment purchases, such as acquiring extra tills or licensing for expansion. However, relying on these occasional grants may pose a risk to long-term financial stability due to their unstable and unreliable nature. I can't always be certain that I can get them due to their competitive nature, so sustaining this mobile operation across diverse venues will require detailed logistical planning, consistent staffing and adaptable infrastructure. I do not currently have the skills needed to make these decisions effectively, so I will need to take a considerable amount of time to build up these skills before beginning the process of starting Sour Frames. This gradual build-up would give me time to save money and acquire the necessary networks and contacts to ease the initial challenges of gaining name notoriety. To avoid relying on grants too much, I'll need to scale my business effectively so that if I rely on variable income streams such as ticket and art sales, I'll still be able to make a profit and compensate the people appropriately involved; this will be a steep learning curve and could make or break the early days and initial success of Sour Frames.

Despite these challenges, all the potential benefits are substantial, and they are worth the risks to achieve my mission statement, in my opinion. This business can become a transformative platform within the UK’s creative landscape by scaling both ethically and staying an artist-centred model throughout. “Supporting emerging artists is not only a moral imperative but an investment in the cultural future of the country” (Rothwell, 2023) with a careful balance of creative flexibility and social responsibility, the company’s overall vision is a feasible and necessary and promising to uplift artists and creatives across the country.

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