This month’s interview is with art dealer, Lisa Sharpe. Lisa who has over 20 years of experience working in both the fashion and art world, established Lisa Sharpe Contemporary Art in 2006, where she specialises in sourcing modern and contemporary art for both collectors and investors.
In 2010 she served as a member of the selection panel for the Cork Street Open Exhibition, she regularly writes about contemporary art for magazines and currently represents a number of emerging artists in addition to Royal Academicians and Modern Masters.
OE: How is an art dealer different from a gallery owner?
LS: It gives me more flexibility to be out and about visiting both artists and clients – much of my time is spent taking artwork to clients’ homes or place of work so that they can see how various pieces work in their living and working environments.
OE: Are you actively looking for new artists to represent?
LS: Yes and no! I have a strong and reliable stable of artists that I already work with and I obviously keep an eye out for exceptional new talent, but I can only work with so many artists at any one time!
OE: How does acting as a judge for an Open Exhibition differ from choosing artists for your business?
LS: I think I’m a little less harsh when choosing for the Open Exhibition as there is room for more work to be shown, but basically the principles are the same.
OE: It must be quite a task trying to shortlist 200 artworks from an original list of 1,200 or more. Can you tell us how you go about it or what your process is?
LS: First thing is gut reaction and does it tick all the boxes: does it have the “IT” factor? Is it original or is trying to copy someone else? A still life of something as simple as a pear can be very beautiful and unique – it doesn’t have to be a unique idea, but it has to have that star quality. Does the composition work, how is the light handled? Does it have depth and soul and does the artwork grow on you the more you look at it?
OE: How much time do you spend initially looking at each image?
LS: I spend quite a while looking at each image and then I dismiss the ones I find offensive: there were a few of those and I still don’t understand why people try to shock the viewer – to me that’s not what art is about.
OE: Do you look at the images more than once over a period of time or do you base your choices more on first impressions?
LS: I absolutely go back several times – all the time short-listing and looking for the ones that are stronger and more powerful with genuine depth.
OE: How well can you tell from a digital image about the actual work itself, are you often surprised when you view the actual work?
LS: Having looked at many jpegs over the years, I have a pretty good feel for the work which is usually much better in the flesh – I often have my tape measure beside me so that I can visualise the size of the actual painting.
OE: Can you describe what qualities you look for; is your choice based more on aesthetics, execution, objective criteria, or subjective preferences?
LS: It’s definitely subjective – for me it has to be – but within that, I am quite a purist and aesthetics and quality of execution do matter to me – hugely. Attention to detail is important and I do think that preparing the canvas really well makes a serious difference and bothering to paint the sides of the canvas if the work is not framed. Good framing genuinely helps – I know it costs, but often it will help make a sale – I would always advise to keep it simple, but of a high quality so that it lets the painting shine out.
OE: How much are you influenced by the opinions of the other judges in the final stage of judging?
LS: My first reaction was to say “Not at all!” which is true to a certain extent, but I will also listen to what the others have to say on a particular work, but generally I don’t get swayed!
OE: What do you think are the main benefits to artists who submit work to various open exhibitions?
LS: I think it’s great to get the work out there to be seen by as wide an audience as possible and the judges do tend to actually agree on most works – so if the work is chosen, it means that several people feel that the work has merit, but don’t get disheartened if you are rejected as I know of a great deal of really good work that does get rejected as there is only so much space to show work in each exhibition.
OE: Are there particular things they should look for in choosing which exhibitions to enter?
LS: I think go for it! What have you got to lose? The whole point is to get exposure.
OE: Do you have any suggestions or recommendations for artists as they prepare and submit work to Open Exhibitions?
LS: Be true to yourself and create work from the heart. Lasting work is work that has depth and soul with a bit of you in it. Quality of execution and attention to detail is important – don’t cut corners, make it the very best possible work that you are capable of creating.
You can learn more about Lisa Sharpe Contemporary Art at: www.lisasharpecontemporaryart.co.uk/
Open Exhibition 