How do you decide which artists to represent or exhibit – what draws you to a particular body of work?
We are fortunate to represent a strong and diverse group of artists who form the foundation of our exhibition programme. At the same time, we are always keen to discover and present new artists and fresh perspectives. The breadth of artists, styles and media ensures an appealing mix to our broad client base of established collectors and art ‘newbies’.
Have you noticed any shifts in what collectors or visitors are responding to?
Recently clients have been gravitating towards more colourful paintings. With everything going on in the world at the moment people are seeking work that uplifts and brings a sense of optimism and positivity into their homes. Quirkier online art may prod at the traditional market, however there can be no replacement for the skill of composition and creativity demonstrated by putting paint on canvas.
How important is it for you to balance commercial success with artistic experimentation?
For us it is has always been important to balance the two. We are always keen to support creativity and new ideas, but we also have to remain mindful that the gallery relies entirely on sales with no external funding. Commercial viability has to play a significant role in our decision-making, but this independence ensures we have liberty to experiment with new artists, exhibitions and ideas.
What’s changed most about running a gallery in Scotland over the past few years both economically and culturally?
Since the pandemic, the shift to our online offer has become much more important. Although fewer clients are visiting the gallery in person, many are far more confident buying work online. Culturally, the gallery is often seen as a free public space and we have seen an increase in the general public footfall. This can be quite challenging for small team trying to run a private business.
How do digital platforms and online sales fit into your gallery’s strategy?
As with most things now, the world is visible and available online and art is no exception. We have seen a marked increase in positive reactions to our gallery website, exhibition invitations and regular social media updates. Covid demonstrated that whilst purchasers undoubtedly wish to see works ‘in the flesh’, their confidence to purchase online is demonstrable. This is especially reflected with our Christmas Small Scale exhibition where around 400 postcard-size paintings are available. These ‘stocking fillers’ are painted by a broad range of established and new artists, and are available on our website throughout the year.
In what ways do you collaborate with museums, festivals or other galleries to build visibility for artists?
Commercial galleries have a symbiotic relationship with public galleries and exhibitions where we endeavour to present a range of works echoing the latter’s themes and curations, whilst offering clients and visitors the chance to own a piece of the artist’s work. Our recent John Bellany exhibition ran coterminously with The City Art Centre’s Bellany: A Life In Self-Portraiture, with the knowledge and support of the Centre and John Bellany’s trustees.
What connections, if any, do you have with Scotland’s art colleges and schools?
We are delighted to hosts art pupils from schools or colleges in the gallery, and can explain the realities of life in the art world or as an artist. Our directors annually visit the Art School Degree Shows, awarding exhibition prizes or indeed offering showcases in the Open Eye. Finlay Trevor, who exhibited in the gallery this month, graduated from Edinburgh College of last year and his achievements include selection for the National Portrait Gallery, and the Herbert Smith Freehills Kramer Portrait Awards (formerly the BP Portrait Award), currently showing in the Laing Gallery in Newcastle. He has also received the Visual Arts Scotland Graduate Showcase Award.
If you could correct one public misconception about galleries, gallery-going and visual art, what would it be?
The public need to realise there is a huge difference between a private commercial gallery and a publicly-funded gallery. We are a very small team in a challenging market, and while our general footfall rises, which we welcome, we are however not able to offer all the facilities of the larger cultural hubs of the public/national galleries.
Open Eye Gallery is at 34 Abercromby Place Edinburgh. From May 2 it will be showing Brendan Stuart Burns: The Space Between and Caroline Ann Mordue: Through A Glass (until May 23)
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