CASE STUDY
Julie Randell of the Waterfront Gallery in Wales
Q Can you tell us about the gallery?
A Our director took over the Waterfront Gallery in January 2003, and it subsequently re-opened as a social enterprise and not-forprofit organisation, gaining charitable status in 2008.
In 2019, the gallery successfully applied to the Welsh Government for a European Funding grant to develop Wales Contemporary, to host a competition for international artists, to encourage cultural tourism to the area, and to retain our future generations of young talent. This support from Welsh Government has meant the gallery has achieved huge success over the past two years, and intends to continue to develop the programme, with the help of our partners Parker Harris.
Q How do you find your artists?
A In general, the artists find us! Even more so since we launched Wales Contemporary, the international art competition dedicated to all things Welsh. This made the gallery emerge on the scene of international art prizes, and put it on artists’ maps. From a creative’s point of view, open exhibitions such as this one are a great way to discover (and be discovered by) new galleries.
Q What makes a good working relationship with an artist from your point of view?
A The most important thing is understanding one another’s point of view. We understand where artists are coming from and we’re here to support their creative practices. But it’s equally important for them to understand their galleries too! Say that your gallery asks you for something, such as a piece of information, an artist bio, or a high-resolution image of your work; bear in mind that they’re trying to help you and give them what they need as swiftly and effectively as you can – it’ll make showcasing and selling your work a lot easier, trust us! Keeping an open dialogue, and setting clear expectations on both parts, makes for a good working artist – dealer relationship.
Q What is the best way for artists to approach galleries?
A The first step is to research the gallery and the type of art they show. In our case, it’s 2D and 3D art from artists based in south-west Wales, or making work related to Wales, its people, its landscapes, its history, etc. If you think your works fits with the gallery, then proceed to step two. But if you make digital video art or conceptual light installations, you can see how you wouldn’t be the perfect match for us. That’s alright, though, there will be another gallery that is right for you!
Next, make sure you know how and when the gallery accepts submissions. In the case of most galleries, it’s not effective to just walk in and drop your portfolio. Some places accept enquiries from artists via email, where some others might have a dedicated period or page on their website. In our case, we definitely prefer to make an appointment with you and see the work in person.
And that brings us to the final step… David, as our director and curator, will visit your studio and take a look at your work. He always comments fairly and honestly! Do your best to keep the conversation open and listen to a dealer’s feedback – they’re speaking from experience. If it’s not the right fit, don’t take it personally: it might just be a question of finding the right time or place to collaborate. And if you’ve found your match, then bravo! Keep the tips in this article in mind, so you can cultivate the right relationship with your gallery.