We’re you exposed to art at home?
Not at all. My father was a mailman and always locked himself up with books and classical music, and my mother was a caring housewife who lived in a small world. My fascination for art arose when I found out that drawing was easy for me – so I started looking for examples. First the well-known classics, such as Michelangelo, Raphael and Albrecht Dürer, but later Francis Bacon and David Hockney also crossed my path.
How did you come into contact with the art world?
After the Willem de Kooning Academy I realized that being an artist is no for me. By chance, my wife and a friend took over a graphic design agency, with room in it for a gallery. I actually started managing the gallery because a person who was supposed to do it dropped out, so I took on the task as a lifesaver. After that I just kept doing this.
What was your first job in a gallery? Or did you immediately start a gallery yourself?
II started art gallery 300 percent back in 2002. 300 percent focused on emerging artists, which was probably because we were a young company ourselves. For example, we did first projects with starting artists such as Guido van der Werve, Anne Wenzel, Floris Kaayk, Anouk Kruithof, Joost Benthem, Sarah van der Pols, Marcel Wesdorp and Robert Pravda. We invariably worked in themes and we did not do solo exhibitions in the gallery, with the exception of Guido van der Werve's first solo. In addition, we immediately started organizing an annual presentation of recently graduated artists in September. The nice thing about this is that many artists from that time are now household names in today's art world.
How would you describe your gallery’s profile?
In our artists and working methods we seek a balance between conceptual strength, visual quality and sometimes also social relevance. Art that reflects the current time and in which current social trends can be seen. We often show photography, but that is actually a coincidence. All forms of art contain social relevance, because of its diversity it reaches a large audience. That is why we do not limit ourselves to just photography and video, but we are open to all forms of art. For example, I have a huge fascination for artists who dare to break new ground by developing a new visual language with digital techniques. We also look for a good balance between young talents and experienced artists.
What do you think is the best part of being a gallerist?
The best part of the job are the unexpected encounters. Discover and marvel. Conversations in studios about work and inspiration. By organizing group exhibitions, you also ensure that artists who do not know each other – but who are related – meet each other. I also think that is a nice part of our profession. Of course, when a work finds a new owner is great too. Usually, you buy a work because you are attracted to it, a little love arises. And you can witness that time and again. Isn't it beautiful?
Which national / international galleries do you feel an affinity with?
I feel a connection with the stylish Emmanuel Perrotin in Paris. Whereas my first gallery was very sketchy, which I still consider a good starting point, I now secretly have the desire to also tackle a gallery with style. I have lots of respect for the way Mulan Go has set up her gallery Go Mulan, and where it has taken her. Averse to conventions and fads, but sailing her own course, something I also like to do. Don't be fooled by having to score, but trust your intuition and continue to follow.
In an ideal world, which artist would you most like to represent?
In my ideal world, Christan Boltanski would still alive and I would consider it an honour to represent this artist. The way he confronts – but also unites – people with their own history takes place at such a high level that you can almost experience his work as religious.
What has changed in the art world since you took your first steps?
A lot has changed in those 20 years. Amsterdam has increasingly become a magnet for ambitious galleries. More than when I started the gallery. As a result, it seems that the press has less need to report on what is going on in the art world outside Amsterdam. Not that this doesn't happen anymore, but significantly less. When I started out, the online availability of art had already started, but now you see that social media play an important role, which I am not familiar with. The follow-up on social media is still very small in the beginning. It takes a lot of effort to build this up, and does not immediately lead to more visits, sales and media attention. In my case, at least. It does give you the chance to communicate directly with your audience.
What / whose work do you collect yourself?
In my collection you will predominantly find Dutch artists, such as Marcel Wesdorp, Hadassah Emmerich, Barbara Wijnveld, Guido van der Werve, Bianca Sistermans, Bram Tackenberg, Sarah van der Pols and Don Satijn. Here too I do not limit myself to one medium, and I collect objects, painting, photography and video, as well as works that have arisen from different printing techniques.
Has the pandemic changed the way you see the artworld?
Certainly, online sales – and online traffic – have grown dramatically. Yet, humans are huge creatures of habit. Now that everything points to a new normal, you see that people prefer to see art in real life and buy it in a gallery or at an art fair. But online sales and online galleries will continue to look for ways to improve the experience. Another effect is that galleries realize that they have to keep up with the times, by investing in a really well-functioning website as an online shop window, sometimes with a web shop. Also, by approaching customers and visitors in different ways at trade fairs, for example with QR codes, and increasing the number of your followers on Instagram and other platforms. That had of course already started before the pandemic, but has now acquired even more urgency and keeps the communication line with your audience short. In that sense it won't be like it was before Corona...