FOUNDER OF CHARLIE SMITH LONDON

Kamiar Maleki: Zavier, tell us a bit about the history of your gallery, when did you open your first space in London?

Zavier Ellis: I opened my first space back in 1998 and launched CHARLIE SMITH LONDON in Shoreditch in 2009. It was always conceived as a curatorial project and retains that ethos today. The gallery acts as a hub and as well as a strong curatorial programme at HQ I have curated many exhibitions over the years in galleries, institutions and off-site locations. Some of these have been at a huge scale, including THE FUTURE CAN WAIT, which was an iconic annual exhibition for ten years. One of my main drives has always been discovering new artists and this is woven into all of my projects.

KM: What encourages you to support young and mid-career artists?

ZE: I love the feeling of discovery and I see that often in collectors too. It is part of my DNA but also I am passionate about providing a platform for those outside of the corporate and blue chip bubbles. I believe wholeheartedly in education and the value of youth or the newly educated. I thinks it’s important to support that and again, I see this in collectors too. I see it as a form of cooperation where artist, collector and gallerist / curator do what they believe in and support each other.  

KM: Which artist do you represent during your current exhibition?

ZE: We are excited to present Geraldine Swayne in her first one person at the gallery. I have worked with Geraldine curatorially over the years and she has made a superb collection of paintings for this exhibition. Geraldine was scheduled for March around the time of lockdown so it’s rewarding to finally present her postponed show.    

KM: Have you and your team taken on new measures to attract visitors and collectors during the past months, have you gone online?

ZE: I foresaw lockdown and held Geraldine’s show back, which was due to open the week before it was announced. We went entirely online and launched a curated work on paper initiative called PROJECT PAPYROPHILIA, which we present on Artsy (https://www.artsy.net/show/charlie-smith-london-papyrophilia). All work is available for just £250 and it has been a phenomenal success with almost 350 pieces sold at time of writing. Our gallery collectors have been extremely supportive and we have also attracted many new collectors. We will continue the initiative online and I look forward to presenting it physically in the future.     

KM: In your opinion, what will change the art market long term after the past months?

ZE: I think we are yet to find out as we negotiate reopening, resuming an exhibition programme and navigating physical art fairs again. Certainly collectors still want to acquire and I think enforced measures mean a streaming of audiences. They will be more localized and galleries and art fairs will focus more on collectors, which implies an undoing of the democratization of art. The value of permanent, physical galleries will be questioned once again. But one thing is for certain, and that is the ability of artists to cope with and respond to unforeseen circumstances. I thought at the beginning of this that artists would be best equipped to deal with it and I haven’t changed my mind.   

KM: We all enjoy the spirit of art fairs, what do you miss most? And are you participating in any upcoming art fairs?

ZE: We do, they’re an integral part of the ecosystem. This is where we reacquaint with our international friends and meet new collectors, both being enjoyable and essential. And let’s not forget they are a discovery zone for gallerists as well. I have London Art Fair scheduled for January 2021 and, being on the selection committee, I have inside knowledge that the organizers are doing a superb job drawing up counter Covid plans.

KM: Which advice would you give to the next generation of collectors that are making their first steps into the art world, especially in these current times?

ZE: It remains the same – if you are comfortable doing so get out to art fairs; to see shows; and follow online, especially using Artsy and Instagram. Most importantly, follow your instinct, and my gallery.

KM: When did your relationship with VOLTA start? And how many VOLTA Art Fairs have you participated with us? 

ZE: In 2013, since when I have participated at every Basel and New York fair.

KM: What is unique about our fairs? And what do you feel the new ownership/directorship brings to the fair? 

ZE: VOLTA has always been a fair that supports and understands galleries. It has never felt that it is all about the bottom line with VOLTA and I hope that continues. It has brought me many exceptional collectors that have truly impacted on my business, and many of these have become long term relationships and friends. It is also a very good size, being not too overwhelming for galleries and audience alike. The new ownership and directorship will bring investment, experience, and renewed energy which should continue to fuel VOLTA’s evolution.     

KM: Why do you believe VOLTA will have a strong future ahead and what is it that we can do to further assist galleries like yourselves?

ZE: With the ambition of the new owners and director I believe VOLTA is in safe hands and has the potential to expand globally. Combined with retaining high quality galleries, its original guerilla ethos, and by continuing to attract prominent collectors the future will be assured.