1. How and why did you become a gallery owner?
I discovered Vietnamese Art when I was posted to Asia in the late ‘90s with my then employer, Standard Chartered Bank. It was at a time when I was beginning to collect original art, and I immediately felt a connection with the works I saw in galleries in Singapore and Hong Kong. I decided to visit Vietnam to see and learn more, and was luck enough to meet people who were prepared to educate me about the development of Vietnamese contemporary and modern painting. Inspired, I began to collect, and then, when I returned to England, to think that perhaps I could help by promoting Vietnamese art here. In 2006, I decided to retire from my previous career and set up Oc-Eo Art, currently an internet based gallery specialising in contemporary and modern Vietnamese painting.
2. How did you learn your trade?
By trial and error - and I am still learning!
3. In your view, what significance does Art have for Vietnam society?
Art is one way a society documents and reflects its history and development. Vietnam is a country that has been through extremely turbulent times, and one that is still facing considerable change as it modernises and develops. Given that painting is such a recent development in Vietnamese Art, and perhaps unique amongst Asian countries in its position at the crossroads of Eastern and Western culture, it is perfectly positioned to communicate a sense of what Vietnam ‘is’ and how the people of Vietnam feel about themselves to the world outside. In that sense, I think it is extremely significant.
4. Who is buying Vietnamese art these days? How would you describe collectors of Vietnamese art?
We are selling to people of all ages and who come to art from very different perspectives. We have serious collectors who understand the importance of many of the early Vietnamese Masters, and we have young people who are just starting to collect original work. Of course, Vietnamese Art is extremely good value at the moment, so it is very attractive to younger collectors.
5. How do you see the Vietnamese modern art scene today?
From the perspective of painting, I think the scene is vibrant and perhaps one of the most advanced in Asia. I have only just started take an interest in sculpture, and from what I have seen, this is also very interesting. Other areas (photography, video, cinema, installation, performance etc.) are perhaps a little more embryonic, but will surely develop in some very exciting new directions.
6. How do you draw attention to your gallery?
In every way I can. In the physical world, by networking, advertising and exhibition. In the virtual world, through our web-site (www.oc-eo.com), email campaigns, social networking sites, advertising, etc.
7. What kind of relationship exists between you and the artist?
Hopefully one of friendship, but certainly one of mutual trust and shared benefit.
8. Traditionally artists have been told to approach galleries with informational packets and portfolios, but of course the internet and sheer number of artists out there has changed things. How do you find most of the artists that you represent?
I am very lucky to partner with the director of one of the best and longest established art businesses in Vietnam, Mrs Tran Ngoc Diep of Lac Hong Gallery, Ho Chi Minh City. She has given a great deal of her time to educating me in the history of Vietnamese painting, and to introducing me to some of the best artists still living today, as well as to the families of some of the old masters. I could not have had the success with Oc-Eo Art I have had without her help, and I am very grateful to her.
9. What standards do you follow to select an artist to represent?
First and foremost, I have to like the work an artist is producing. Then I try to understand whether the artist is truly painting ‘from his heart’, or whether he is simply a talented artisan able to produce paintings commercially. There are unfortunately far too many artists, not just in Vietnam, who turn out the same picture over and over again in the knowledge that it will make them some money. To me, this is not true art. Finally, I try to determine if it would be attractive to the market in the UK, which is very difficult, and is largely guess work, in truth. The market here is extremely competitive and often led by fashion, and art-buyers, particularly in London, have the choice of buying artists from all over the world. This last decision is the difference between buying for my personal collection and buying for Oc-Eo Art exhibition and sale.
10. Is there some kind of philosophy behind your curatorial process? What kind of artists do you find yourself drawn to?
I want to represent both young and established artists that work in all media, so really the philosophy is as my answer to question 9. Do I like the work? Is it produced ‘from the heart’?
11. What is the biggest mistake you see emerging artists make when approaching you? Is there anything in particular that screams "don't take me!"?
All artists over-value their work! To some extent, when an artist is selling well in Vietnam, I can understand this. But an artist who is famous in Vietnam is not necessarily an artist who is famous in the UK. I take on a great deal of risk when I buy paintings to ship back to England for exhibition, and I go to the utmost length to be open and fair in all my dealings with artists and their representatives. I think that, now, most of the artists I deal with understand this.
12. On the flip side, what makes an artist attractive to a gallery?
Their potential!
13. How many pieces should an artist have before looking at gallery representation? Framed? Unframed?
There is no rule here – as many as it takes for a gallerist to be able to understand the artist’s style and progression. Unframed, or at best, edged, is fine.
14. What are the responsibilities of a gallery to an artist?
To represent him, to promote him, to treat him fairly, to be open in their dealings with him; and to be prepared to discuss and agree their future plans for him.
15. What should an artist expect from a gallery, marketing and sales wise? And conversely, what does a gallery expect from an artist? Is there a period of time after which you decide to drop a non-selling artist?
An artist should expect a gallery to deliver what has been discussed and agreed. A gallery should expect an artist to respect their relationship, even if it is not a formal contract - there is nothing more damaging or annoying to a gallery than to find an artist selling directly to customers at lower prices than in the gallery. An artist should never be dropped for not selling – that is the gallery’s responsibility! I only drop artists who decide no longer to be true to their calling. Non-selling artists need better promotion.
16. Artist-Gallery contracts – good thing? Bad thing? Necessary thing?
I prefer to work on a ‘hand-shake’, but sometimes contracts are necessary to ensure each side has a clear understanding of what is expected and what they are to do.
17. If an artist markets himself well, what's the advantage to the artist of having gallery representation? In other words, what can galleries offer an artist for the commission they extract?
The role of the gallery is always one that will be challenged, but in my view I think a good gallery is invaluable to an artist. Artists should be free to concentrate solely on their work. They should not have to worry about promotion, finding locations for exhibition, transportation, framing, delivery and so forth.
18. I see a lot of big name artists with multiple galleries representing them. How many galleries should an artist have, anyway?
I perhaps have a slightly biased view on this one, but I would prefer that artists do not have multiple galleries competing with one another to sell their work. I think it encourages an artist to be too prolific, and ultimately suppresses prices.
19. Describe your perfect artist. How many pieces, what sort of style, what sort of behaviour they exhibit – what does this perfect artist do to make your life as a gallery owner easier?
There is no such thing as a perfect artist! The ‘imperfections’ that differentiate one artist from another are the seeds of passion and inspiration in art. A perfect artist, like perfect art, would be dull.
20. Every artist has a dream gallery they'd love to represent them one day. Do you have a dream artist that you would love to represent?
Not really, but I suppose every gallery dreams of discovering the greatest artist of their time!
21. What advice would you give to an artist just starting out?
Be true to your heart, do not try to copy others (legally or otherwise!), paint regularly but do not be over prolific, be patient.
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