BB: The gallery programme feels as though it is built intuitively rather than formulaically. I'm curious how that intuition had developed. How does intuition help shape the way you build a programme?
SL: The programme is mainly built intuitively. I like to be flexible, and have the freedom to show what and who I like, without self-imposed constraints. There are parallels between practices but it seems counterintuitive to use those as indicators of what should and shouldn’t be shown.
BB: Alongside this intuition, you’ve spoken about preferring to allow connections between artists to emerge over time, rather than beginning with a fixed position. Looking back, what patterns have surprised you?
SL: I've noticed that most of the artists' works have a hands-on quality, and respond to influences from outside the artworld. There are a lot of connections to music and the aesthetics surrounding different genres -- in the works of Gozie Ojini, Nina Hartmann, Emma Kohlmann, Ang Ziqi Zhang, Marlon Kroll and Karice Mitchell. The partner of one of my artists, who is a musician, pointed it out to me before I recognized the pattern. It was a surprise when I first heard it, but then it made total sense.
BB: As a gallerist, you have described your approach to exhibiting and representation as ‘slow and steady wins the race’. What can only be achieved by moving more slowly and deliberately?
SL: I’m not sure if it can only be achieved that way, but there is a lot of pressure on both artists and galleries to scale up, expand, do certain fairs, be everywhere all at once, and this ingrained idea that bigger is better. Taking on too much too fast can lead to bad decision-making. And I try to encourage the artists to apply that same mantra to their practices, and to tune out outside expectations. To me, art is more interesting when it slowly develops, instead of having a quick and easy brand.
BB: Rather than simply presenting work, the gallery seems committed to building long-term support around artists. Do you think the role of the gallery is changing, and what is it that artists need from galleries today that they didn’t twenty years Ago?
SL: The art world is much larger now than it was 20 years ago. More galleries, more artists, social media presence, more platforms, initiatives and collaborations. I think it can be overwhelming for artists to filter through all of these potential opportunities. Everyone wants their share in it and oftentimes projects and collaborations disguised as “opportunities” really only benefit one party and not so much the artist. “Visibility” has become a misleading currency, and I think part of a gallery's role now is navigating all of that.
BB: I noticed that many of the artists in the programme draw from fields beyond contemporary art, whether music, mythology, politics or lived experience. What interests you about bringing those kinds of practices together?
SL: I like when there are various points of entry to a work; when familiarity with a different field or issue can draw you in.
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