SUPPORTING YOUNG AND OLD ARTISTS

So why art over all these years?

I studied Fine Art at University and when I started trying to sell my own paintings I realised how difficult it was to get a break. I ended up starting four galleries in KZN and one gallery and art school in Mpumalanga until 2007 when I retired from the world of business to paint again. But I soon found myself back in the situation of needing to exhibit my own work and START gallery came into being. It is located on what I call the Tourist Mile near the Hartbeespoort historic tunnel. I live behind the gallery with my partner and my dogs. Its an ideal retirement plan! [Chuckle]

How do you plan, prioritise, organise?

In line with current trends, I support local and have embraced the need to diversify so offering a wide range – from investment art to curios.

Share an example with us of how you helped coach a person.

A good current example is Emily Mushango, a sidewalk hawker who I have brought into the gallery. She is skilled fabric painter. Being full-time in the gallery has exposed her to varied art-making techniques which is starting to show in her designs as she introduces more depth and dimension.

Tell me about your recent experience of working with artists.

I have been working in a collaboration with Pearl Pols for the past 3 years, preparing a collection for exhibition. Pearl is a well-known floral and landscape artist. Jointly we are navigating a joint stream – her impressionist style and my modern-art pieces.

I also made my gallery space available for classes – presently seascape artist, Fanie Smit offers weekly lessons.

My own weekly painting classes have attracted a disabled artist who is preparing work for the Mouth and Foot Art Association. I have had to adapt all the techniques I teach! Lezelda Lubbe paints with her feet, so mixing colours with a palette (oils) and other actions that I take for granted are impossible for her. Her mom comes along and serves as her assistant and I pitch in when needed.

We are currently exhibiting the best of her work.

How have you managed to be the only surviving gallery in a holiday destination town that had several galleries until now?

The COVID closure effectively wiped out al almost one year of the two that I have been open but daily foot traffic is slowly increasing again. In the first year we had 3 exhibitions, two were near sell-outs and one disaster – a student exhibition in this case, the student delegated the marketing to a person who did nothing, needless to say, the show flopped. A painful learning curve.

What is the key to success when communicating with the public?

I have intentionally made the gallery space homely and comfortable so people who come in want to spend time there. My staff are overly friendly and willing to share knowledge.

I have attractive signage and make use of roadside banners– this is where being an artist is really an advantage in business!

Belonging to other related associations is part of staying open. Tourism Friendly, does a good job of keeping us in the limelight.

I am intrigued about your concept of hanging established and new art side-by-side….

All well-known artists started at the bottom and were given the opportunity to exhibit by a gallery along the way …. I therefore see no reason why, if the art is of a high standard, it should not be shown together. Art is personal, and the decision to buy art includes buying for love, buying to support an artist and buying for future financial growth or investment.

If I had to live my life over, the one thing I would change is that I would have done a gallery like START first!