For many aspiring artists, graduating from art school is only the beginning of a much longer struggle. While exhibitions, gallery shows and successful sales often attract public attention, the reality is far less glamorous. Behind every artwork is a constant balancing act between creative practice and financial survival.
Various artists across generations say that sustaining a livelihood through art alone remains difficult, prompting many to take up teaching, freelance projects, commissions and other jobs alongside their practice.
Delhi-based artist and educator Murari Jha remembers arriving in the city after completing his master's degree from Dr Bhimrao Ambedkar University in Agra, with little idea of how to earn a living through art. "I was exploring everything," he says. "I tried illustration, assisting other artists, commissions and various projects. I was new to the city and didn't have contacts, so even finding opportunities was difficult."
Like many young artists, Jha found that creative work did not always provide a steady income. Commission-based projects often involved investing significant time without any guarantee of payment or completion. He finally turned to teaching—not what he wanted to do but it gave him “stability” and helped him continue his art practice.
Struggles and expectations
Artist and outreach communicator at Triveni Kala Sangam, Rachit Jain returned to India after studying printmaking in Singapore. He worked as a freelance graphic designer while continuing to pursue art. Although freelance income was inconsistent and some months went by without any work, his family's financial support gave him the space to continue learning and developing his skills — until a job at Triveni Kala Sangam eventually gave him the necessary financial independence.
He notes that many artists rely on support from parents or spouses while they are still learning, particularly in the years before exhibitions and sales begin generating income. At the same time, he has seen several aspiring artists step away from the field altogether because they lacked such support systems.
According to Jain, family expectations can be just as challenging as financial constraints, with some young artists facing pressure to pursue more conventional careers. "If you don't have a support system, that can weigh even more than the finances," he adds.
The missing support
However, this dependence on supplementary income is not new. Professor Shukla Sawant, a visual artist and Associate Professor at JNU's School of Arts and Aesthetics, says artists have long depended on multiple sources of income to sustain their practice. Recalling Delhi in the 1980s and 1990s, she notes that there were very few commercial galleries and almost no structured funding opportunities available. Most artists, including herself, worked regular jobs during the day and returned to their studios in the evenings.
However, she notes that if the sole focus had been on what galleries wanted, artist-led initiatives such as Khoj and the Indian Printmakers Guild, would never have been built. Sawant says that while grants and fellowships are now available, they are few and limited and often tied to the patron's viewpoint or corporate publicity.
Artist and creative practitioner Prerana Khandelwal adds that grants, fellowships and residencies offered by organisations such as the India Foundation for the Arts (IFA), Foundation for Indian Contemporary Art (FICA), Kiran Nadar Museum of Art and Khoj can help artists sustain their practice, but accessing these opportunities is not always easy. The language barrier is a hurdle during the application process," she says. "Most of these funding opportunities require a big proposal. Not everyone can put in that much time and effort.” Khandelwal adds the government should expand funding opportunities, especially tailored to different stages of an artist's career.
Gayatri Singh, founder of Art Incept gallery, says "what we look for is a unique voice," not market trends. Yet even after developing a unique style, success is not guaranteed.
While acknowledging the uncertainties that come with the profession, Khandelwal says she would still encourage aspiring artists to pursue it if they feel deeply committed to becoming an artist and the joys of creating.
The many questions
Many artists believe stronger institutional support is needed at the grassroots level. Hardik Verma, a printmaking graduate from Delhi College of Art, says government art colleges make education affordable but often struggle with limited tools and resources. Disciplines such as printmaking require specialised equipment, which is not always available. He also points to a lack of career guidance within art colleges, where students are well-trained in technical skills but receive little information about making their way in the profession after they leave campus.
Jha also says that many young artists enter the profession with little understanding of how the art world operates. Questions about galleries, collectors, commissions, exhibitions and sales often remain unanswered, making it difficult for emerging artists to explore their careers and gain visibility for their work. "Artists often spend years trying to understand how the system works," he adds.
"There are artists who find a gallery within a year of graduating, and there are those who spend ten years trying," says Gayatri Singh. "There is really no fixed timeline."