ISSUE #25 | THE PIE REVIEW | 11
IN VINCENT VAN GOGH’S painting
Bedroom in Arles we see a simple room. There
is a bed, two wooden chairs and a small table.
There is a jug of water on the table, a small window is left
slightly ajar. The bedroom is not an extraordinary subject.
But the painting is brought to life by Van Gogh’s vision, by
his use of colour and subtle distortion of perspective. It is
an evocative portrayal of the conditions under which he
lived and worked.
Van Gogh typifies the archetype of the ‘starving artist’,
a person who trades material well-being for their work.
The starving artist is a typical figure of Romanticism
in the late 18th and 19th centuries, and appears in both
literature and art.
But in today’s digital, interactive world, there is huge
demand for the work of the artistically minded. Be it video
for social media, visual arts for the gaming industry or music
production for streaming – there are now more opportuni-ties
than ever before. Creative arts education in all its many
guises is flourishing in this environment.
The economic argument
The creative arts are big business. Data released in the US
and the UK show an ever growing arts and culture industry
that makes serious contributions to their economies. In the
US, the latest figures showed that arts and culture contribu-ted
more than $800 billion a year to US economic output in
2016. In the UK, a 2019 report from the Centre for Econo-mics
and Business Research showed that the arts and culture
industry grew by £390 million in one year and contributed
£10.8 billion a year to the UK economy.
Gabriel Providel is CEO of Mozaik Play, a tech-enabled
agency platform that helps students connect with creative
arts and digital media institutions across destinations inclu-ding
Australia, Canada, the UK, the US and New Zealand.
He passionately believes in the contribution that the
creative arts make to the global economy.
“The creative industries generated $2.5 billion in revenues
in 2018. It employed more people than the automotive indu-stry
in the US, Europe and Japan combined,” he explains.
“We at Mozaik Play not only connect students to the
best creative arts and digital media schools worldwide, but
we are introducing them to this world of creative industri-es...
they are the ones that will be shaping the future of our
creative and digital economy.”
The creative and digital economies that Providel refers
to are becoming more and more inseparable. During the
2018 Beijing International Forum on Creative Economy,
the UN’s trade and development creative economy pro-gram
chief, Marisa Henderson, spoke about the intersec-tion
of the creative and digital economies.
“Creative workers and creative content are already
integral to bringing the digital world to life – and it is cri-tical
that we understand both this contribution and how it
promotes socio-economic development,” she said.
In an era of technological disruption, where countries
are scrambling to find their feet in the digital space to
both flourish and to compete, the need for students who
can bring the “digital world to life” is high. It is the job of
creative arts programs to prepare them.
Providel explains that Mozaik Play is an education agency
that caters for a huge range of courses including digital
media, visual comms, film/TV/audio, design, fine arts,
performing arts, photography, built environment and busi-ness
for creatives. With a particular focus on digital media,
Mozaik Play can help students study subjects like VR, AR
and transmedia: courses that are all unlikely to have been
on offer even five years ago in the same iteration.
Students work on a
film at the National
Film and Television
School in the UK