Suda Mohamedin

For creative producer Suda Mohamedin, no two working days look quite the same. One might involve data and configuration; the next, developing a documentary, planning an event or bringing artists and communities together. Having built a career across culture, film and tech, she shares how following her curiosity, seeking out collaborators and putting herself forward have helped her find her own path.

What I do

How would you describe what you do?
My creative practice is all about community, connection and finding ways for creativity to have a meaningful place in people’s lives. This can take the form of collaborative workshops, exhibitions, cultural programmes or experiential events.

At the heart of my role is curating experiences. I bring together different creatives, artists, vendors and communities, and create the conditions for all of those different elements to come together and make something memorable.

What influences and inspires you?
I’m really inspired by travelling to new countries and cities and immersing myself in different cultures. I’m interested in all the details of how people experience and express culture – from the way people interact and greet each other to food, music and traditions.

Anything that sparks joy, curiosity or a sense of involvement stays with me. I take those observations back into my creative practice and think about how I can translate that feeling of connection into the experiences I create.

What training have you received?
A lot of my day-to-day roles have been in production management and producing, which I’ve found incredibly valuable and transferable to my creative practice. You don’t necessarily need a fancy degree to learn how to bring people together, manage projects and work with documents, budgets and timelines. These are skills you can build through experience.

Having the opportunity to work across different projects and collaborate with different people has been one of my biggest forms of training. I’ve experienced different areas of the creative industries, from production and editorial to post-production, and each has taught me something different.

That combination of practical experience, collaboration and being open to learning has given me the skills to develop and run events and curate different creative formats.

What’s been your favourite recent project?
Hekayyatna’s Takeover: 1001 at the Southbank Centre.

This was a weekend festival inspired by the 1001 Nights tales, taking audiences on a journey across different SWANA (South West Asian and North African) cultures and communities.

We brought together artists from Morocco, Egypt, Sudan, Tunisia and beyond, alongside creative workshops, dance and multiple languages. The aim was to create a space where people from the diaspora could see themselves reflected, while also introducing audiences who may not be familiar with the region to its richness and diversity.

It was a really special project because it brought so many different creative practices, people and stories together in one space.

What does a typical working day look like?
A day in my life can look very different, which is one of the things I love about what I do.

I currently work at TikTok as an operations associate in the Spotlight, Film & TV department, so part of my day can be very data- and configuration-heavy. Alongside that, I’m directing a documentary and working across various creative projects and events.

There’s a constant balance between the logistical and creative sides of my brain. One day I might be working on a new campaign, and the next I could be developing a documentary, planning an event or reviewing art shows and artists.

It keeps things spicy – I never really know what the next project will bring.

What would be in your creative producer starter pack?

How I got here

What was your journey like when you were first starting out?
I started out freelancing and working on sets as a production runner and crew assistant. My first traineeship at Sky, as an assistant producer, was a real turning point because it gave me the opportunity to work across advertising and campaigns, film and TV, sport and news.

Being exposed to so many different environments early on was incredibly valuable. You absorb a lot simply by being around different people, projects and ways of working, and it helped me become much more well-versed in the creative industries.

I definitely didn’t have everything figured out at the beginning, and I still don’t think you’re supposed to. My journey has involved trying things, learning as I go and allowing myself to move in different directions.

How did you land your first few jobs, clients or commissions?
A lot of it has been about putting myself out there and being open to collaboration. Working with smaller collectives, independent creatives and organisations can be a great way to build your experience and get your work in front of people who might not otherwise come across you.

One example was a week-long furniture and spatial design course I did at the V&A. Through the course, I met senior producers and artists-in-residence, as well as other creatives in my cohort. Those connections expanded my network and eventually led to an opportunity to curate and facilitate a workshop with my fellow participants.

Sometimes an opportunity isn’t immediately about getting paid; it’s about meeting people, building trust and creating something together. You never really know where those relationships might lead or where your work might end up being exhibited.

What have been the biggest challenges along the way?
One of the biggest challenges is remembering that you have to keep putting yourself out there and keep your creative practice alive.

That doesn’t necessarily mean constantly producing work. Sometimes it means trying something completely new, exploring another industry or taking a step back to reassess where you are.

I started out in film and TV and have gradually moved into the tech world, while still working in spaces connected to film and TV. That shift has taught me that your career doesn’t have to follow one straight line.

If you feel stuck, try something new. And if you need a break, take one. Pausing and reassessing can be just as valuable as pushing forward.

How do you approach social media and self-promotion?
Share, share, share. Share your work. Share what you want to make. Share the ideas you’re excited about. Then find the people who are interested in making those ideas happen and start a conversation.

There’s no point creating something you’re proud of and then letting it sit in the dark. Give people the opportunity to discover your work, understand what you’re interested in and see what you could create together.

You don’t have to wait until everything is perfect, either. Sometimes sharing the idea is what helps you find the people who can help bring it to life.

What are three things you’ve found useful in your career?

Which courses, programmes or job boards have you found helpful?
Creative Access and Creative Lives in Progress have both been useful resources for finding opportunities.

I’d also recommend keeping an eye on organisations such as BAFTA and the V&A, particularly their development programmes, springboards and opportunities for emerging creatives.

A big lesson for me is that a lot of opportunities aren’t necessarily sitting in plain sight. Sign up to mailing lists, newsletters and opportunity boards. Sometimes you have to get yourself onto the right mailing list before you even know an opportunity exists.

What have you learnt about making money and supporting yourself as a creative?
Know the value of your craft. You know how much talent, time and skill it takes to do what you do, so don’t sell yourself or your skills short.

If your skills aren’t being valued in one environment, that doesn’t mean they don’t have value. Sometimes you need to find the environment where those skills are recognised and can take you further.

Supporting yourself as a creative is also about recognising that your career doesn’t have to look one particular way. You can build different skills, work across different industries and find multiple ways to sustain your creativity.

Advice

What are your most useful career tips?
Try it all. Why limit yourself? If you want to explore different industries, do it. If you want to take a break and discover something about yourself, do it. If you want to completely change direction, do it.

Your career is a journey, and it doesn’t have to follow the route you see everyone else taking. What works for someone else might not work for you.

Be creative about how you approach your career, just as you are creative about your work.

What would you say to someone looking to get into a similar role?
Start at home. Don’t wait for the perfect opportunity to come to you – start creating your own.

If there’s a project you want to make, collaborate with your friends and the people around you. Go out, meet people, join communities and start conversations. You don’t need to have a huge budget or a big organisation behind you to begin building your practice.

Most importantly, take risks. Try things before you feel completely ready. Some of the opportunities that have shaped my career have come from simply being willing to put myself out there and see what happens.