The Journal of Australian Ceramics Vol 48 No 3 November 2009

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Ceramic Spaces Philanthropist Rod f yffe photo; Chris Sanders OR: Yes you can, sometimes - if you are known for a particular style of work and in an exhibition people expect to see that style of work, they are disappointed if it's different. If it doesn't sell, that discourages the maker. AM: They should not be discouraged but should just learn from it. With a recent exhibition here, collectors came in for work that they missed out on last time and it was different 50 they did not buy. They asked if they could get some of the older work. But others said, "What exciting new work; I want to add that to my collection." This exhibition succeeded, but if not I would have told the artist that collectors were looking for the older style of work and were disappointed, but not that the exhibition was a failure; it was just not timed right. OR: There are galleries around that show a different kind of negative. I could name a few but I won't, where you go in and the people there look down their nose at you as though you are some kind of nuisance. AM: Being in business with people you have to enjoy the people. They are your guests and the least you can do is say hello. Artists have to be there with you . Artists and the collectors are no different. They are both very impassioned, very dedicated. Once you are established with them there is a trust, and they are very generous. OR: Yes, there are collectors who are very well educated about the work, and it's very easy to talk to some of them because you have so much in common. AM: The collector and the artist both talk in "I" - the artist says, "I did this, and I did that, I am looking for something, I have tried that" .. . and a collector will say, "I love that, oh, what that does for me" - it shows me how close the species are. The collector and the artist should be in conversation all the time. They are corners of a triangle: the artist, the art and the collector. That is extremely important because galleries might come and go, but the triangle remains; it is the future. OR: One of the ego things that happens with collectors is that if someone has your work and there is a survey exhibition that they consider important, they show that work with the label, 'In the collection of'. As with artists, they like to show off 'their work'. AM: I don't think its ego. They cherish the work. Without collectors there would be no art for the future. Go back to history and the art patron. Without them, how much art would we have lost? 90 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2009
Ce ram ic Spaces Work by Shiga Shigeo photo: Chris Sanders OR: With very few exceptions, ceramics collectors seem to buy for the love of it rather than the investment. AM: That's where ceramics is now. In twenty years time it might be very different. Look at what's happened in the UK. OR: Yes, people like Hans Coper and Lucie Rie .. their work is worth a fortune. AM: Because they have a history and there is no history written on Australian ceramics. We will probably have to wait another 10 or 20 years before someone does that. My ideal gallery would have a small museum attached to give a historic context to the work on display. OR: The problem is a lot of the artists will not be around. AM: That's why it becomes history. It's only when we lose people that we start to see that we need to record that life. OR: You have said that galleries have a personality. What personality does Skepsi have? AM: 1 am too close to it to analyse that. But I like the gallery to be an experience. I like people to come in here and experience the personality that each piece has to offer. 1 don't see the work as objects, I see personality, and if you allow yourself some time with it, you almost get to meet the artist. Not the physical person but the spirit of the person, their nature or mood. The collectors have an influence too, because they guide you in what you select sometimes. If they ask for something specific I consider getting it for the gallery. Work. by Christopher Sanders photo: artist THE IOURNAL Of AUSTRALIAN CERAMICS NOVEMBER 2009 91
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The Journal of Australian Ceramics Vol 48 No 3 November 2009

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