Cutting her teeth as a curator and gallerist from the age of 18, Cowpertwait knows how to spot emerging talent. Guided by curiosity and intuition, rather than a strict criteria, her intrinsic abilities have seen her not only advance recently as director of Sanderson Contemporary, but also the careers of the artists in which she supports.
“Art comes in so many forms and I think its rewarding to focus on how the work makes you feel when you view it,” she says. “If I find it beautiful, inspiring, or perhaps challenging, then I ask myself why and would other people be stimulated by it in the same way. I always want to share things that are interesting or joyful to engage with.”
Below, we speak to the gallerist on her discerning eye, the artwork that’s inspired her the most, and what’s next for the gallery. Plus, she also reveals ways you too can invest in artwork that inspires you.
In conversation with Lydia Cowpertwait
Tell us a bit about you, your background and your career to date:
I was very lucky when I moved to London [from New Zealand] in my 20s, I got to do an internship and work in the curatorial department at the Whitechapel Gallery, which is a prominent public art gallery in the UK. After that I ran a small commercial gallery in East London promoting emerging artist’s work. While my children were young I worked as an art consultant and freelance curator working on public projects and large building projects across Europe and the Middle East. When we moved back to Aotearoa during the pandemic that is when I took up a job at Sanderson.
What has been the most rewarding aspect of transitioning from working in galleries to taking on the directorship of Sanderson Contemporary?
I worked at Sanderson for two years as the gallery manager before I became the director. Becoming the director felt like a wonderful achievement because it was always a dream of mine to own my own gallery, and to do what I love in that capacity, but I never knew if it would be possible. One of the most rewarding aspects of the transition was seeing how the artists and staff responded to the news. They were all so happy and supportive. It was a great moment that is continuing throughout this year.
How do you identify and support emerging artists, and what criteria do you use to decide which artists to feature in the gallery?
Supporting emerging artists is something close to my heart because I supported young artists earlier on in my career, when I was just starting out as a curator and gallerist. It comes naturally out of a keen interest in seeing what is new and what people are making. Sanderson hosts an emerging artists exhibition annually and we also support young and up and coming artists with our exhibition programme throughout the year.
Art comes in so many forms and I think its rewarding to focus on how the work makes you feel when you view it. If I find it beautiful, inspiring, or perhaps challenging, then I ask myself why and would other people be stimulated by it in the same way?
I try not to follow a strict criteria in terms of selecting artists but rather see how I respond intuitively to their work. I always want to share things that are interesting or joyful to engage with.
Can you tell us about an exhibition or event that had a significant impact on you ?
I visited the Gugenheim Bilbao when I was in my early 20s and it was my first time seeing one of Louise Bourgeois’ Maman sculptures in real life. I can still remember how I felt when I saw it. It took my breath away. These sculptures are huge bronze spiders that tower over ten meters in height. At first I found it menacing and a bit terrifying but then I read about the work and what it meant. Bourgeois made the work as an ode to her mother, who tragically died when the artist was only 21. Her mother had worked as a seamstress in a textile workshop and the artwork is a presentation of metaphors – concepts of weaving, spinning and nurturing, referring to her mothers strength. The encounter with this artwork has always stayed with me and I find it is a great allegory for many aspects of life.
What practical advice would you give to someone who would like to start their own art collection?
I believe art is for everyone and I would say don’t be put off by the art world thinking it is impenetrable or that acquiring artworks might be too difficult due to the costs involved. Lots of gallerists want to support young and new collectors and purchasing limited edition artworks or prints can be a great way to start collecting that doesn’t break the bank. There are also great financial schemes like MyArt, which helps people to collect art with an interest free loan. When you first start collecting it can be an exciting time. It opens up a whole new world.
What are your goals for Sanderson Contemporary in the next few years?
We are working on a new website at the moment, which is taking a long time because Sanderson has over twenty years of archival data. Once it is live that will feel like a big achievement. Sanderson has published a book celebrating the gallery’s represented artists every few years so we are aiming to publish another edition of that in the not too distant future. Other than that the primary goal is to continue supporting our artists as best we can and to inspire clients and visitors with the works we put on display.
Do you have any upcoming projects or exhibitions that you are particularly excited about?
Julia Holderness has an exhibition coming up called Botanical Pursuits, which is exploring the role of the garden in the creative and social lives of women. This will be on concurrently with a group exhibition she is taking part in at the Auckland Art Gallery Toi O Tāmaki called Modern Women – Flight of Time, curated by Julia Waite. We currently have a group show on called EMBELLISH, which is centred around the theme of adornment. This exhibition features works by Josephine Cachemaille, Arapeta Hākura, Holderness, Iza Lozano, Sung Hwan Bobby Park, Hanna Shim and Lisa Walker (ONZM). We’re quite excited about these shows.
Lydia wears Gloria velvet pants and top, jacket by Harris Tapper, dresses by Harris Tapper and Wynn Hamlyn, jewellery by Annie Costello Brown & FARADAY’s Love & Object, shoes by Saint Laurent. Art direction by Sarah Jayne Kavali.
Quick-fire questions with Lydia
Where you’ll find me holidaying… Aiming for a trip back to the UK at the end of the year.
My guilty pleasure TV show or movie is… Robin Hood: Men in Tights. Best movie of all time.
My current podcast recommendation… BBC Woman’s Hour. I’m a dedicated fan.
The most cherished item in my home is… My children
Favourite artwork in your collection? I can’t name just one, but one piece I have always cherished is an embroidered work by Areez Katki that I bought a long time ago before he started exhibiting in galleries. Areez is a dear friend and it makes me smile every time I look at it.
Three beauty products I can’t live without… Chanel red nail polish (for the toes), John Frieda Dream Curls conditioner, Lancome Doll Eyes mascara.
My favourite place to dine… I tried out Josh Emmett’s Gilt recently, which I think has to become a new favourite.
