D&AD Meets: POC Creatives — Illustrator Erin Aniker on creative networks, Turkish patterns and burnout
“It took moving and living somewhere that wasn’t as diverse, for me to really appreciate growing up in a multicultural city” For London-based illustrator Erin Aniker, the lack of diversity whilst studying at Norwich University of the Arts, was a huge wake up call to the stark realities of the wider industry. Drawing inspiration from the mix of cultures in her community and the immediate influence of her own dual heritage, Erin’s work features women of all shapes and sizes. Inspired by the geometry and precision of Islamic geometric patterns, alongside her love for British magazines and media, it’s no wonder this Turkish-British Londoner is able to boldly design an intersectional take on the world. With a heavy weight of clients under her belt such as The Body Shop, Stylist and The Washington Post, the young illustrator balances projects, workshops, and chasing invoices as part of her freelance life.
In the first of a new series of featuresfocusing on POC creatives, Nicole Crentsilspeaks with Erin on the power of building creative networks, the reality of life as a freelancer, and advice for young creatives.
Erin Aniker in studio
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NC: How did you get into Illustration?
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EA: I’ve always been interested in illustration. I got into it through children’s books growing up in the 90’s and always used to look out for the illustrations in magazines and newspapers as I grew older. I completed a BA at NUA in Norwich, Norfolk. I was drawn to the Illustration module on the course so knew it was something I wanted to try and craft a career in.
“I had some great experiences at University but also noticed the lack of diversity living in Norwich.”
Erin AnikerIllustrator
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EA: A lot of my work portrays a mix of different people from diverse backgrounds. I think it took me moving and living somewhere that wasn’t as diverse for me to really appreciate and realise how important it is to me to live in a truly multicultural city.
Stylist Magazine client work
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NC: What has been your most exciting project in the last year?
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EA: I recently hosted an illustration workshop at The Design Museum which was really fun and exciting! We explored their permanent collection choosing certain objects which we felt represented our ideas of home and identity.
The Wellcome Collection - Mosaic Science client work
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NC: What influence has your heritage and culture had on your choice of career?
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EA: It’s been huge! I grew up surrounded by so many amazing Turkish textiles and ceramics. From Iznik plates and ceramics to Ottoman cushion covers and rugs. My Mum’s house is like a treasure trove of Turkish art! I’m really inspired by all the patterns especially Islamic repeat patterns - I love the geometry and precision of them. This definitely got me interested in art and design and as I grew older it was British magazines and newspapers which drew me into illustration. I’m half Turkish and half British, so I owe my initial love of colour and pattern to my Turkish heritage and my early love of illustration to my British heritage.
The Body Shop Project
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NC: What is the most enjoyable part of your job?
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EA: When I’m given a really loose brief and able to take full creative control, that’s always really fun!
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NC: What is the least enjoyable part of your job?
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EA: The admin side of things…filling out contracts, chasing invoices, replying to lots of emails etc. I’m open to working with an agent to help me deal with that side of things, so if any suitable illustration agents are reading this and like the look of my work - I’d love to hear from you!
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NC: What challenges do POC creatives in your industry currently face?
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EA: Lack of POC working in management and higher education positions.
Queen Amastris client work for Broadly Vice
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NC: How can your industry be more inclusive of POC creatives?
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EA: Hiring more POC in management and higher education positions.
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NC: Is there anyone in your industry that inspires you?
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EA: So many people inspire me! My peers and other illustrators including Cynthia Kittler, Jess Nash, Laura Breiling, Aleesha Nandhra, Alva Skog, Olimpia Zagnoli, Frances Catiley, Catherine M.A., Edel Rodriguez, Manjit Thapp, Joy Miessi, Laura Callaghan, Hannah Buckman, Sara Andreasson, Gizem Vural, Soofiya and lots more.
My favourite illustrator at the moment is Gizem Vural, a Turkish illustrator based in New York. Her work is incredible and I love her use of bright colours and shapes. The way she creates fluidity, movement and layers in her illustrations.
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NC: What advice would you give young POC creatives who want to get into the industry?
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EA: Once you’re starting to figure things out and getting some work in, go part-time. A lot of creatives have a creative or non-creative part-time day job which they won’t necessarily shout about and that’s completely fine. Jumping straight into doing the thing you ‘love’ full time and as your only source of income can be draining and really unstable when you’re starting out.
“There’s nothing wrong with having a day job in the early stages of your career when you’re still figuring things out and building a portfolio.”
Erin AnikerIllustrator
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EA: Having said that, burnout is real and should definitely be avoided by learning early on how to balance your workload and knowing when you need to take time away from work in order to recharge.
Personal work
“Be patient, dream projects don’t often happen overnight and usually take a lot of time and hard work.”
Erin AnikerIllustrator
Don’t let family, teachers or anyone offer you well-intentioned but unsolicited advice on the instability of a creative career. There may not be a one size fits all, or a specific path to follow in your industry, but making your own path and creating a meaningful working life for yourself is part of the fun and probably part of why you’re drawn towards the creative industries.
@erinaniker
Nicole Crentsil is a London-based Ghanaian born curator, public speaker, arts producer and festival director. Follow onTwitterandInstagram