Danielle is an independent curator, cultural producer and strategist based in London and working internationally. She grew up between Moscow, Russia and Los Angeles, California. She completed a BA in Art History and Creative Strategy at New York University in 2015. She graduated from MA Culture, Criticism, and Curation (MA CCC) at Central Saint Martins in 2024.
Why did you choose to study MA Culture, Criticism and Curation at Central Saint Martins?After a decade of professional experience in the art scene in New York, I was ready to stretch my brain in a new way and develop an independent curatorial practice. Finding a programme that allowed me to build from the foundation of my prior work and knowledge was important. MA CCC stood out due to its strong focus on collaborative and socially engaged practices, as well as research. Studying in an experimental, cutting-edge, and highly creative setting also fueled my decision.
What have you been working on since graduating?
My practice centres on exploring the relationship between the psyche and the complexities of lived experience, so I gravitate towards interdisciplinary projects that involve site-responsive intervention, installation, performance, and programming.
Since graduating, I have been working on independent and collaborative curatorial projects as well as cultural programming initiatives. I’ve also had the opportunity to apply insights from my dissertation research to consult for cultural placemaking organisations on public art strategy and implementation. When there is an emerging or underrepresented artist I love, I’ll connect them with collectors who are looking to acquire new work as well.
I’m currently excited to be bringing two New York–based artists to present their work in London: a multi-channel audiovisual piece by Zain Alam, and a series of sculptural installations paired with a performance by Priscilla Aleman. I’m also curating a multidisciplinary exhibition with Hypha Studios.
What was the most interesting project you worked on during your time on the course?
If I weren’t an art curator, I’d 100% be in the jewellery world, so working with the Central Saint Martins jewellery archive was a true highlight. It offered a rare opportunity to research and engage with designs from jewellery students dating back to the 1980s, while also collaborating with my classmates on contextualising the pieces and curating our interactive digital exhibition, Phantom Pain: The Absent Body in Jewellery. As someone who gravitates more towards the tangible, it provided a stepping stone into the digital sphere, which was an extremely valuable experience.
What important piece of advice would you give to students thinking of studying this course?
Have a strong sense of what you’re interested in and the direction you want to go after graduating (a year goes by quickly!), but stay curious and don’t be afraid to experiment and explore. You never know how your existing practice and interests might intersect with something slightly off the beaten path.
What was the highlight of your Central Saint Martins experience?
There’s something to be said about the environment of Central Saint Martins itself. The creative energy of the students around you, from your own as well as other disciplines, is infectious.
What is the most important thing you learned on the course?
Curating is a practice. Don’t strive for perfection; instead, approach it as a tool for researching and investigating the cultural narratives and mediums that most interest you, while experimenting with how they can be presented to different audiences. Striking the right balance between patience and persistence has proved fundamental to developing a strong curatorial practice, too.
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