Meg Molloy is a Cultural Strategy & Communications Consultant and the founder of Working Arts Club, a network dedicated to supporting arts professionals from working-class backgrounds. With over a decade of experience in the arts, she has led communications and artist and museum liaison in galleries and cultural destinations. Molloy has worked on numerous landmark building projects and high-profile launches including Stephen Friedman Gallery, Dreamland Margate, Dulwich Picture Gallery and Studio Voltaire. Born in Margate in Kent, she is now based in South East London.
Why did you want to guest curate for this year’s International Women’s Day Auction?
International Women’s Day is a vital moment to spotlight women’s voices and curating for this auction was an opportunity to contribute to that. It was also a chance to integrate my passion for supporting artists from working-class backgrounds. I am the founder of Working Arts Club, a network dedicated to improving access and visibility for arts professionals from working-class backgrounds. We focus on providing networking opportunities, both on a professional and social level. Many of the artists I selected for the auction have been actively engaged with Working Arts Club’s programming, and being able to feature their practices on a platform like this felt like a natural extension of the work I’m dedicated to.
Art on a Postcard plays a key role in raising funds and awareness for The Hepatitis C Trust. What makes you want to help fundraise for the charity?
The Hepatitis C Trust’s work with women in the criminal justice system is urgent and underrepresented. Women face marginalisation around poverty, trauma, gender-based violence and mental health crises, with hepatitis C frequently becoming another issue. Knowing the auction directly supports a programme that has already helped hundreds of women to access testing and treatment - yet still faces growing need - made me feel compelled to be part of it.
What were the key things you were looking for when selecting your artists for this auction?
A core priority was selecting women artists from working-class backgrounds whose practices feel intentional and vibrant. With the shift to the 5×5-inch plywood format for the auction, I was drawn to artists who I knew would be imaginative and push the limits of the medium. The artists I asked to participate bring perspectives shaped by lived experience, reflecting the real landscape of contemporary working-class creativity.
What do you hope people take away from the International Women’s Day Auction?
This auction celebrates a spectrum of women’s creativity, so I hope people see how rich and diverse contemporary women’s practice truly is. I hope they feel drawn to support the cause by participating in the auction and knowing they are directly making a difference to the lives of women in prison.
Do you think this auction format supports or impacts emerging artists?
It can definitely support emerging artists as it’s a platform that is both accessible and high profile. The small-scale of the works remove many barriers that can prevent collectors from taking a chance on someone they may not yet know. Visibility in a curated and meaningful auction places their work alongside artists at different career stages, opening up new audiences and networks. Emerging artist’s voices matter and their work has a place in the wider cultural conversation.
What advice would you give to someone buying their first piece of art?
Buy what you love.
How does a small-scale format like this appeal to new collectors?
Small-scale artworks remove lots of the intimidation around collecting. They’re physically manageable and financially accessible, so new collectors can have an intuitive relationship with art.
Do you think there is a shift in how people are choosing to build their collections?
I think so. Art is all about being human and the perspectives and experiences that shape an artist’s practice. Many collectors seek authenticity, wanting to understand who the artist really is and where they speak from. In my opinion, collecting should not focus on status objects, it should be about personal or emotional connection and supporting practices that feel meaningful. People should be building collections that reflect their ethics, supporting artists early, investing in diverse voices and valuing cultural contribution over what the market looks like.
