A friend of mine mentioned her sister to me a few months back, she said she works with artists to collaborate on projects for brands. So, I got in touch with the lovely Lucy Clarke here, and we had a little chat about Art Agency work. Turns out she is a project manager at MTArt Agency and she has plenty to tell us about all the incredible artworks she get’s to work with.
Lucy at the MTArt offices in London (artwork behind by British artist Liz West, titled “Our Spectral Vision”)
So tell me about how you started out.
Well I originally studied Graphic Design Communication at Central Saint Martins. However, I was more interested in pushing creative boundaries than following a conventional design path. My final university project explored the intersection of human error and technology in creativity—I even broke away from traditional graphics and knitted my final piece, proving that design doesn’t have to be rigid or predictable.
Ironically, I left university wanting to be an artist myself. To fund my work, I took a role at a tech startup, but I quickly found that the demands of a fast-growing company pulled me away from my own creativity. That experience, however, shaped my ability to manage high-pressure projects, and I eventually found my way back to the creative industry.
And how did you find your way to MTArt Agency as a project manager?
My transition to MTArt Agency happened thanks to Yann, our Chief Creative Officer and my long-time mentor. He saw something in me that I hadn’t fully realised—that I could uniquely bridge the gap between artists and brands, helping them collaborate in a way that preserves creative integrity while making ambitious ideas a reality.
And the agency, what are they all about?
MTArt Agency is small but mighty. We’re a talent agency not a management agency, which means we actively secure opportunities for artists, whether through large-scale public art commissions, brand collaborations, or cultural projects.
Unlike traditional galleries, which focus solely on art sales and institutional shows, we expand on what they do—not only representing artists for these opportunities but also bringing them into commercial spaces in a way that feels authentic and meaningful.
The crew after 2 weeks of work together - UNESCO world heritages site in AlUla, installing David Popa’s 150m land artwork
Do you work with smaller or larger organisations?
We’ve worked with major brands like Apple TV, YSL Beauty, Glenfiddich, and Hyundai, producing campaigns and collaborations that integrate art into global narratives. On the public art side, we’ve delivered installations across the world, from UNESCO heritage sites to city-wide art interventions.
We operate globally, managing projects that range from intricate installations to multi-million-pound brand partnerships. It’s an agency that thrives on bold ideas and creative problem-solving, which makes it an exciting space to work in.
What’s a typical day like at work?
No two days are ever the same—it all depends on the projects I am running. Some days, I’m deep in logistics, ensuring an installation arrives at its location in perfect condition. Other days, I’m in creative workshops with artists, helping refine concepts to fit a client’s brief without losing artistic integrity.
Then there are the days where things get really unpredictable. In the past year alone, I’ve found myself standing in the middle of a desert in Saudi Arabia, battling stormy winds and rain in the UK, and even installing a poem in a swimming pool in Scotland—all in the name of bringing art to life!
Haha incredible!
It’s a mix of creative strategy, problem-solving, and adaptability. The best part is that it never feels like a routine job — it’s about making ambitious ideas happen, no matter where or how.
Behind the scenes installation in Alabama of Rayvenn D’Clark’s “Black Renaissance” at the EJI “Freedom Monument Sculpture Park”
How do you go about finding your artists?
MTArt receives hundreds of applications every month, but only a select few make it through to the final selection committee. We look for artists who not only have a strong visual identity but also a commitment to pushing their work beyond traditional mediums.
At MTArt, we’re not just looking at paintings on a canvas—we’re looking for artists who reveal themselves through their work, who have something to say and the ability to translate that into larger cultural or commercial opportunities. It’s about finding those who can collaborate with brands and public institutions while staying true to their artistic voice.
Can you talk me through the process of working with artists from start to finish?
This is a tricky one because no two projects follow the exact same process! MTArt is artist-driven, not artwork-driven, which means my role is to truly understand each artist’s way of working—sometimes even helping them uncover ideas they haven’t realised themselves yet.
For emerging artists, this can mean deep conversations, drawing out their story and shaping how they approach collaborations. For more established artists, I study their existing processes and identify moments where things could be streamlined or improved—whether that’s in how they structure projects or navigate commercial opportunities.
Lucy hand filtering charcoal to artist grade for David Popa in the dessert in AlUla in order to the project through the line
Our role is to match artists with the right projects, whether it’s a brand collaboration or a public art commission. It’s not just about follower counts or market value—it’s about finding partnerships that truly make sense.
I’ve developed a deep understanding of each artist’s creative language so I can represent them in the best way possible.
Tell me a bit about some of the artists you’ve worked with.
One of the most rewarding collaborations I’ve had is with David Popa, an artist who creates large-scale land art using natural pigments. His work is completely ephemeral, disappearing with the rain or the wind, which makes the production process a race against time.
His projects rely on everything aligning perfectly—weather conditions, pigment shipments, the exact placement of drones to capture the final piece before daylight fades. We’ve had moments that felt almost surreal, where everything worked against us until, at the last possible second, the elements fell into place. I’ve lost count of the number of meals we have had together after working tirelessly through the sunlight hours, covered in black pigment, completely exhausted but in awe of what we just created.
Another unforgettable project was with Claire Luxton, where we drove the length of the UK together to project her work onto lighthouses along the coast. It was one of my first major projects at the agency, and it cemented my love for what I do—bringing ambitious creative ideas to life in ways that leave a real impact.
Behind the scenes shooting content in Barcelona with Lorenzo Quinn for the FIFA World Cup
Every project comes with its own set of challenges, but those moments of creative problem-solving, of making something seemingly impossible work—that’s what makes it all worthwhile.
Have you had to deal with compromises on the artist’s work for the sake of what the client wants? How does that work? Is that tricky to navigate?
The challenge is finding the perfect balance between a brand’s commercial objectives and the storytelling at the heart of the artwork. I wouldn’t call it a compromise unless budget constraints impact production costs. Instead, it’s a collaborative process where both sides are respected, and the artist remains at the helm of the creative vision. Our priority is always to protect the artist and ensure that the final outcome aligns with their ethos.
Have you worked with any well-known artists?
One of my first projects was with Lorenzo Quinn, a world-renowned blue-chip artist. I had the privilege of working closely with him on his piece for the FIFA World Cup in Qatar. The installation period allows for a deep connection with the artists, and I feel incredibly lucky to witness firsthand the processes and stories that shape their work.
Any tricky or challenging situations with artists?
Being told your work has not been accepted for a brief is always heartbreaking, as artists pour their energy into every pitch. This is the hardest part of the job—delivering that news is never easy. Many artists don’t realise how much we shield them from the “bad” or the “negative” until a project is complete.
What happens to the work after the project?
As a B-Corp, one of my objectives is to make every project as sustainable as possible. If an artist does not want to sell their work as part of a collaboration, that is fully respected. Some artworks are re-exhibited, while others are recycled or transformed into new works to reduce waste.
Feeling inspired to find out more about Courtney Bae’s inspiration and work? Visit the About page to read up.