CONVERSATIONS IN TEXT : LADY GABE
- 23 hours ago
- 17 min read
Last month we had a lovely catch up with Lady Gabe at her first solo exhibition down at Sixteen Gallery. We chatted all about the show, how she got here, the work she’s making and where she’s going next! She had so much great advice about preparing for and hosting a fantastic, successful exhibition and we’re delighted to share it with you. Dive in for a deep look at how Hannah has brought this show to life.
AOS: We love to hear from artists themselves, and it sounds like you had a really positive experience as well as a financially pretty good one! So I think it would be lovely to hear how your whole experience went.
LG: Tomorrow's the last day. And I have really enjoyed it, but now I need to have some quiet time. I've been handing out flowers to people - because I received too many flowers from really lovely people, but I don't have enough vases, so I've been giving them out to visitors!
EC: What a lovely problem to have!
LG: If I think a person might be interested in my work and collecting, I feel like they won't forget me if I give them some flowers! But also, it's just a nice way to make people smile, isn't it?
EC: It really is! So was everything that's in the show living in your studio up until this point?
LG: Yes. There were a few pieces that were around the house where I ran out of room. But most of them were.
EC: Does it feel strange now that they're not?
LG: I didn't realise how much there was. Now they are spread out, I've realised how much space they needed to be seen properly. Actually, when I first got everything in here, I thought I didn't have enough. But it's fine, it needs the room, I think.
AOS: I think it's great how you've hung it. You really give it the room to breathe. It's those decisions that I think have had a real impact, how you've utilised the space.
LG: Yeah, it was actually fun! And it's nice to see pieces with the space. I think it's interesting, with the largest two, I knew that they would be the harder ones for someone to collect, but I feel like they really have a nice impact in the space, to really draw you in, and then move you around.
AOS: Have you found it's been fairly busy each day? Has there been a steady stream of visitors?
LG: I'll have maybe a quiet hour, and I'll get some work done, and then, suddenly, someone will come in, and then, while they're here, somebody else comes in, and then, I'll be talking to each one of those people, and then, before I know it, an hour and a half or two hours has passed, and I've not sat down! And I've ended up talking to people all that time, or maybe I've made a sale, or a print's gone, or we're talking about a commission. And time just goes that way. It's been nice because it's kept me busy. I've not got any other work done, but it goes so quickly.
AOS: You've done a fantastic amount of promotion online. Do you think that's had an impact on people coming in and chatting to you?
LG: I think so! I'm going to do a retrospective on the experience because I want to learn from it, see how I can grow, and maybe do this better in the future. I like to learn, I want to improve - it's an active need to know how I can do better. I worked with Gee from Brand Geenie to support my marketing strategy. She didn’t run my social media for me, but we did a workshop where we planned the exhibition rollout, explored how to use my existing connections and email list, and looked at how to keep building relationships with potential collectors. Within the first week of applying what I learned, I secured a commission and a mural booking. By being more authentic and sharing the story behind the work, showing my personality and being playful with it, people connected with me before they arrived at the exhibition. There was no hard sell as that part had already been done through the marketing. Collectors walked in feeling invested, and from there, choosing to buy a piece felt natural.
EC: I guess they know what your work is like, they know a bit about you, and they possibly even know your rough price range. So really, you've taken away the unknown.
LG: Yeah, the barriers to the art are gone.
AOS: So that story has been crucial. For people getting to know you and getting to know how you work and why you do the things that you do. I think people really buy into you as an artist, your personality; it resonates. We've always spoken about the story - and I love that you use that word as well - we've talked about this idea that this work is something that's going to sit in someone's home, and they want to be able to talk about it, remember it, and look at it beyond just the imagery itself.
LG: Yes. It could be a pretty picture on its own, but it doesn't connect until there's something in it that's a connection to the collector. It needs to have something in it that makes them think "there's a piece of me in that", and that's why they want to bring it home with them.
EC: Yeah, some sort of meaning, whatever that is for them. For this show, did you plan the show and then make a body of work, or did you have a body of work to bring together into a cohesive show? Which came first?
LG: So I started making a collection before I booked the gallery. I think the long-term plan was that I wanted to make a collection where all the pieces spoke to each other, like a narrative of works. But showing my learning in it as well. I knew there would be an obvious level of development and change through all of it. The catalyst was this one in the window, King of Flowers. When I made it, I wasn't thinking about selling it, not worrying about how it should look, or trying to contain myself; I just let go completely. And just went mad. And that process was really fun. I felt really playful, like a child again. And I wanted to do more of that, and to lean into the "too much". Because I see other artists who do things that are completely out there, and no one questions it. So why am I questioning myself? So I just pushed out the box a bit more. And then from that, I was like, okay, I can see myself building a whole collection and developing the story that goes with these. So I'd say about 90% of what's here came as a result of that. There are a few pieces that are older, but I think they tell the story of where I began, some of the shapes I was building and the textures I was practising.
EC: Which ones are the older ones?
LG: So, down the far end, there are two of them together, and on the right-hand side, there's a purple one. That was the first time I sort of felt the shapes I was making. I was looking at something and abstracting it. I can see what it is, but I'm kind of pulling it about a bit, and playing with the shapes and the texture. And then the one on the left of it was after that. And I was exploring this circle shape I like to build, and darker points, and lighter points, and, thinking, emotionally, how does this emotion look?
EC: Because the piece you had here, which is newer (that's sold), that echoes that, I feel like I can see where you went from the other to end up in that one.
LG: Yeah, that one was really difficult to let go of, because it had so much emotion. A few people who had seen it when it was here had really connected with it because of the story that goes with it, and the idea that the shapes equal the emotion, and the journey. The name of it is Synesthesia, and that's because I have Synesthesia, and that's how I process emotions.
AOS: Which senses connect?
LG: So I have a real spectrum. I'm learning all the time. But the key ones that I have are that emotions to me have colour, shape, and form. Emotions are really intensely sensory to me. So sound is attached to music, and music has shape and form. Sound, in general, is very tangible to me. And I can see shapes forming when I hear sounds.
AOS: I can see that music is dotted through the work.
LG: Yeah, songs inspire me a lot. And then, when I look at numbers, memories come in. Colours are attached to numbers and words. I see time in a very weird shape. So, a day, an hour, a week, decades, all of it has shape and colour in my brain. That's how I navigate memory. I remember things because "that was attached to this shape, and this line went around like that", and that's how I see it in my head. The thread then attaches me to a memory, so I can find it, like in a vault in my brain. It's very weird! But I didn't even know I had it, and it was only because my husband picked up on things I kept saying that made no sense to him. I was like, "Well, sounds have shape". And he was like, "No, they don't, that's not a normal thing to say". So yeah, I didn't know that wasn’t normal. And then I looked into it, and it made sense. I've leaned into navigating the world that way, whereas I never used to; I always pushed against it because it wasn't a societal norm. I realised I need to become an artist full-time because this is the only way I can function in this world!
AOS: I think that throwing yourself wholeheartedly into this has been so prominent. It's so clear to see that's how you approached this whole project. We've spoken to artists before about creating a campaign and building towards their exhibition. What's been the biggest takeaway from this show?
LG: I think it has to be, having a little bit more self-belief in the direction I'm going, because I still find myself questioning it. I still compare myself - I think every artist does - I compare myself and think, "Is this going to do well? Is this still too much?" I still have those noises in my head, but I think what I can take from this show is remembering that the right people will find it. It doesn't mean that they're going to find it at the right time, but I'm not going to cheapen myself as a result of it being quiet. I'll continue with the value of applying myself to the work I'm doing, and not worry when I've had a quiet couple of months, or take on work which I don't think aligns with me. I need to try and find a way of continuing to stay committed to the value I hold.
AOS: Well, I think people are really resonating with that. I can see lots of red stickers, and I think that the honesty and the truth that you've put out there has reflected back in the way that people have seen the work.
LG: Yeah. I think emotionally preparing myself is a thing I've learnt through this. Because, obviously, the works have emotional meanings, and some of them have the blurb to tell the story, and I didn't really count on the fact that people would then come to me and be like, "I had trauma too. Let's share." It's been really nice in a lot of ways because I've had people tell me how much of a difference it's made to them. But I think mentally preparing for that would be good, because that's something that isn't ever going to be extracted from what I paint. It's always going to be a key part of what I create, so I need to figure out how to navigate it a bit better.
AOS: It's great to see how your approach has been to focus on you and your story, do lots of promotion around that, and talk about what you're doing as you gear up for the exhibition. And then you did a fantastic thing of inviting people down and ticketing the event.
LG: Yeah, it was free ticketed. I didn't want it to become overcrowded and chaotic, and I wanted to welcome people in and account for getting the right drinks for visitors. I know as soon as you ticket something, it creates a sense of urgency, and it really did help create that, but it was just an accidental byproduct. I wasn't initially thinking that I was going to create a sense of scarcity, but it helped to make people want to turn up. I provided drinks, and there was a poetry reading; it was an event. Also, when it's ticketed, you can see who the people are who are saying they want to come. The names you don't know, reach out to them and find out how they found you, connect with them; maybe that connection you build, by the time they get here, they already love you, and they already definitely want to buy a piece of your work, because you've taken that time. I think if artists can find a way of connecting to people who are collecting their work, it really helps.
Private View for Extra, at Sixteen Gallery – photos courtesy of Sarah Garrett
EC: I think it works really nicely, people feel like you care, and they get to be part of something special.
LG: The way I did it was that it was a free ticket, but the price for entry was to tell me their favourite song, so I could add it to my playlist. Because music connects to me and my work a lot. So I made a playlist that played throughout the evening. It was quite loud in here, but a couple of people noticed and said, "That's my song playing". And it was just a way to make people feel involved, like they're a part of it. I've been to private views for other artists before, or I've gone to galleries, and I always feel a little bit out of place, or that I can't be involved. It's that pretension that comes with a lot of art. And, you know, I'm self-taught, I grew up not in any kind of privilege, and I've found my own way through it (with help, obviously), but I think there's an element of holding back, not wanting to be a part of it, and I wanted that barrier not to be there. I wanted people to feel like they're welcome, they've got a song on the playlist, come in and hear it. I don't want people to feel like it's all going to be out of their price range, so they're just not going to come and see it. It doesn't matter; come and enjoy it anyway, and enjoy the experience. I think that made more people want to be here.
EC: Yeah, it's more open; come to this event, come and just enjoy this moment. And if you don't walk away with something, that's not what the purpose of it is.
AOS: That feels like a thread that's gone through all of your work. From your street art background and murals; art that's for everyone. I think you've made this really lovely, honest exhibition. And the biggest thing I've seen is that it feels very you.
LG: That's a huge compliment because that's exactly what I wanted it to be. Without being too self-indulgent, everything here is me.
AOS: It is your exhibition. I think too few artists really embrace that as a concept. You know, you're an artist because you want to express something, and connect with other people. I think you've been really bold and brazen about how you've done it, and that's paid dividends. That's been so lovely for us to see because we've been encouraging artists to do that, but it's quite a daunting thing.
LG: Yeah, it's scary. But I think it's actually quite helpful that I've had a lifetime of ADHD. I've masked myself to fit into different environments a lot. So I can quite easily go, "right, in this situation, I have to be an extroverted social person that is very chill about the fact that this is my first exhibition, and not have a meltdown about it". Inside, all of these things are happening, but on the outside, I'm looking around - especially on the Friday night - thinking how great it is that these people come out in the rain, and I'm giving everything to them, I'm saying thank you to them, I'm showing up for them because of how important it is that they turned up. I think if I was in a space with people that didn't really know me, I'd be a lot quieter and a lot more meek and mild. I think, for me, it's all about making a connection.
EC: I think you're also very thoughtful and intentional with what you do. And that's come across in the whole show. Yes, it's this big, vibrant, brash in-your-face thing, but there's so much behind every little detail. All these little things add up to a whole experience; they've really made a difference, it feels so inclusive, and I think that's what makes it feel really successful.
LG: Thank you. That really is the intention. When I was doing the marketing and workshop with Gee (Brand Geenie), she said to me, "What is it you want your art to say?" And I think I want other people to feel seen, because I know what it's like not to feel seen. I want to create something that makes somebody think, "Oh, I feel seen in that, I understand myself more in that.”
AOS: Huge goal. What a target to set yourself! I love that that's been integral to what you're doing. And also just putting yourself out there - You've got a little studio space set up, and that's really resonating with people. Did you set times? Did you tell people when you'd be painting, or is it just spontaneous?
LG: Yeah, it's just as and when I fancy it. I'm not gonna force it, because then things just don't come out right, and it doesn't make sense. But I'm always working towards it, I've got my little post box over there.
EC: Have you had lots of entries?
LG: It's got loads in there! It's so lovely. I've had people come and say quotes to me. Or tell me, "I think of this when I see this word". I actually put one straight on here, it says "change nothing, nothing changes", which I love. I immediately wrote it straight there. When people come down, if I'm not painting, but they want to be a part of it, I'm asking them to write me a note, tell me something they want to let go of, or something they want me to include, and I'll.. imbibe it, or put it into the painting somehow, either in words or in colours.
EC: When you're making work, normally, do you plan anything, or is it "this is what I'm feeling, this is my zone today", and it just happens?
LG: Yes!
AOS: Because you've got a couple on the go here. Do you just dive into a canvas? Do you have checkpoints that you want to get to so you can work on multiple pieces at a time? What's your process?
LG: As an example, these three were second-hand canvases given to me, so I said I'd do something with them. I thought the three together, as a trilogy, I like the idea of past, present, and future. So that's the intention in each one, and this is where the notes from the letter box come in, whatever people's intentions are, I will then apply them to these. I'm still using florals; they represent emotions attached to a point in life. Most of the time, I'll start off with a canvas, and I'll cover it in spray paint, because it's fast colour. I play around with it, I'll think about where I want light and dark, and the shapes I'm interested in building. So, this one has no texture in the middle, this is future because it's shaped around the past, and then it's open to what could be happening. This one is past, so this is a little bit messier, a bit more separated. It starts quite light, where you start your life very innocent and empty, untouched, and then things start to bleed in as you go along. And the present, this one has a lot of joy in it, because obviously, there are lots of lovely things going on for me personally right now. But there's a gap at the bottom, leading into all things that are way above; they could be positive or negative, whatever it could be, it's all mixing in. So it's just open. Does that make sense?
EC: Yeah, it does! You have a kind of framework, but you then allow yourself to play in it. It feels like you get to be quite free and change as you go.
LG: Exactly.
EC: It sounds like you're seeing this exhibition very much as, rather than the end of a chapter, more like a jumping off point.
LG: Yes, 100%.
AOS: Do you know where you're going next?
LG: So I'm planning to create a brochure of works, telling my story, and I'm going to look at galleries around the UK, ones I feel like I am aligned with in terms of style etc. I would like to see if they would like to take one of my bigger pieces, and just spread myself a little bit further, and try to maybe one day get represented. But at the moment, I just want to do this, so I'm looking at the ways that I can ensure that I can continue doing it, which means I have to expand and I have to grow and find ways of being seen further than just my pocket of social media. But equally, I'm quite happy just to find a small number of collectors that just keep me going.
AOS: What would be your biggest piece of advice, to someone who's got a show in six months time, they've got plenty of time to think about their work, plenty of time to start promoting it. What would be the biggest advice you'd give to them? Especially if it's their first solo show?
LG: If you can outsource some of the extra bits by hiring someone or getting help, do it. Because then you can concentrate on the creative aspect. By investing just a bit of extra money in someone to help me plan my marketing, that plan helped me stay within a route to get to where I am right now. If I had done it without the help, I think I would have really struggled to get here. You don't necessarily need to hire a marketing person for it, but maybe even just dedicate a day where you make a plan. Set yourself up with a way that you are going to market yourself, to let people know you're going to be here before you are here, because that's beginning the story, and people can already connect with it before they get here. So, for me, it was investing money and having help with the marketing, but I think, just somehow find a way of getting the story told before you arrive.
EC: What made you decide to do a solo show now? What was that push?
LG: Why not now? I think it was just that I've been on the fence about it for a few years, and I've been slowly building up work and seeing the change and the development. I want to do this forever, and I'm not going to do that if I keep hiding away and not showing it.
AOS: You spoke a little bit about representation. Is that your ultimate goal? Or would you like to keep going from a more self-represented, independent position? Renting a space again, possibly elsewhere, does that appeal to you?
LG: Yeah, absolutely. I like the fact that I had the ownership of how I wanted to do this. Initially, there were a couple of artists I thought would work really well together to share a show. But then I thought about it, and realised, if I was going to do this, I really needed to just do it. Just do it completely my way, how I envision it, without anyone else's opinions or worries. I could just focus on me and what I needed. And I think that was the right decision. Because I was able to make all the decisions here, how things are displayed, how I wanted to market it, how I wanted to show up as an artist here, how to connect with people, and not feel like I was responsible for anyone else. I would do it again in a heartbeat. It wasn't easy, but now I've done it once, I am excited to do it again.
Our conversation with Lady Gabe was so insightful, it was great to learn more about her practice. We think she gave some really solid practical advice about preparing for and hosting an exhibition, which anyone, first solo show or seasoned exhibitor could learn from!
You can find Brand Geenie who supported Hanna's marketing strategy on the link here if you'd like to know more.
And, of course, if you'd like to see the full collection of works from Lady Gabe's show, check out her website – pop over to her portfolio for all the links and a look at some of her current pieces.
Got any burning questions? Drop them in the comments. We'd love to hear your thoughts!
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