Qwerty Magazine, an English literary journal from the University of New Brunswick recently included my works in their fall/winter issue. I’m very pleased with how it turned out. Ever since university, I always thought that my works don’t really fit well in a gallery setting. The images are too small and it requires a more intimate inspection than what is normally done in a gallery visit. This is why I had my first collection of works published shortly after graduating.
Anyway, a big thank you to Qwerty for including me. In these coronavirus times, people are canceling art openings and many galleries are struggling. There really is no good reason to be gathering with a big group of people, unless it’s for a vital cause. Looking at art and consuming free wine and cheese is hardly something one should risk getting the coronavirus for. This is why it’s good to have alternatives to showing my art, be it online or publications. Now, it can be more difficult selling works online as opposed to directly meeting with people in galleries, but I was never really big on selling my art anyway.
I don’t really care if people buy them. You see them, you enjoy them… I’m content.
I have come to a hard epiphany though, and it’s not just me, many gallery owners I know have come to realize this as well: we have to improve our Internet game. Outside of Instagram, I don’t really have much exposure online in regards to my works. And I haven’t even really been that active one Instagram until about a year and a half ago. I’m not really set up for online sales, and people who are interested in my works have to go through a prolonged, archaic process of getting money transferred.
Many galleries are similar. They don’t really have a platform for promoting artists’ works online. They are simply there to provide a space in the real world to show works. Here, like many others in Canada as well, they rely on the artists to bring their own people to the gallery, people already familiar with the artist. They don’t have their own community of art lovers independent of the current artist showing their works.
Once the physical gallery is taken away, like for example because of the coronavirus, there is very little incentive for artists to get involved with many galleries since they don’t have a platform to launch the artist out to the greater art community. Artists would be better off marketing their works themselves since they might have the same digital clout, if not bigger, than many galleries. Galleries, much like artists, need to improve their Internet game and build a robust network which can promote artists outside of the physical gallery. And that’s the biggest change right there, they need to promote the artists, not really on people who already know the artist to bring digital and physical traffic. It’s not enough just to provide physical space. Otherwise, they would become less relevant as time goes by.