We spoke with our partner for this year’s London Design Festival, the London based art consultancy ARTIQ, on how they can help you with selecting art and the importance of lighting art.
How do you approach working with a client?
The most important thing is mutual understanding between the client and ourselves; we need to listen carefully so we can understand exactly what they would like from their art collection. Every client is different – some have a good idea of a brief they would like us to follow, whilst with others we need to almost create a brief from scratch based on the characteristics of the project, location, budget and so on.
The arts managers at ARTIQ like working closely with clients so we can curate collections with carefully considered narratives that can really resonate with people, whether they are situated in hospitality, workplace or residential settings.
What benefits do clients get from using your service?
The whole team at ARTIQ love what we do and every project we undertake selecting art is done with great enthusiasm and care. We work extremely hard to find the most talented emerging artists in the country and make their work – which is relatively reasonably priced – available to our clients, as well as representing some of the most dynamic, exciting and relevant artists and global art collections in the world.
The ARTIQ team cut their teeth renting art collections and we are now the UK’s market leader in doing so, meaning our clients can refresh and reinvigorate their environments every six months by leasing the very best in contemporary art, sculpture or prints – and working with archives such as the V&A, the British Library and the British Museum means our clients can choose from over 200 million images!
Who are your favourite artists to work with?
Ask any member of the team this question and they will say something different – the short answer is we love all of our artists! The company was founded on the principle of fair pay for artists, which is something sadly lacking in a great deal of the market since it is largely unregulated. Our artists like us because we treat them fairly and pay them well, offer an alternative to the traditional gallery route and get their work out where it can be seen and enjoyed by all!
At the moment I am particularly enjoying the work of Claire Brewster, who was our artist of the month for August, and I am continually amazed by the work of Almuth Tebbenhoff, a sculptor we have been working with for a while now – she seems to be able to create the most beautiful and intriguing objects no matter what material she works with and has an incredible understanding of how to use light to bring a whole different dimension to her art.
How do you think lighting compliments art?
In so many different ways! Obviously putting a good spotlight on a piece of artwork can make it stand out. But certain artists can use particular types of light, space and shadows to great effect. I previously mentioned Almuth Tebbenhoff – I don’t think I have ever come across an artist with such a good grasp of this as she does. One of her sculptures entitled “Crack” (pictured) is made of fabricated steel and has the back painted with red enamel paint, which reflects light and makes the whole piece glow. We selected and installed this in the reception of one of our clients based in Mayfair and it stops people in their tracks as they walk in!
On the other hand, we also work with artists such as Chris Wood, who uses a range of optical materials to harness patterns of light and create kinetic patterns in response to the environments in which they are placed – so in this case there is almost a symbiotic relationship between the artwork and the lighting!
What is your favourite project you have done?
I would say probably the legal firm, Herbert Smith Freehills. They have a huge art collection, a great love of art and share the same ethos that we do when it comes to supporting emerging artists. When we first engaged with them, their collection hadn’t been properly catalogued or valued in years. Our Art Handling Technicians meticulously catalogued, identified and crucially located every single work across their three London offices. We then valued the whole collection for insurance and sale, identifying a small collection for sale at auction.
With the proceeds from the sale, we started to work with Herbert Smith Freehills to reinvest in a new emerging art market. Today, they have a fully catalogued collection, a purpose-built art storage system and rental works in their offices. But the highlight of this ongoing relationship with them is the Graduate Art Prize we run with them every year in November, which was set up with the direct aim of introducing young artists directly to the corporate art market, providing another means of supporting them and helping get their careers off the ground, away from the traditional gallery route.
What are your favourite JCL lighting products to use when lighting a sculpture/picture?
Your LED Picture light is a wonderful way to light art. With its excellent contour rendering and light which reaches to the bottom of the canvas, it is a great tool for what ever art you select.
For more information, please contact Jessica Whitehead.