Meet the Gallery: Tin Man Art
In this article, we get to know Tin Man Art, its founder James Elwes and learn about the gallery's upcoming shows
1. Please introduce yourself and the Gallery's vision and programme.
After 15 years in the art world I set up TIN MAN ART mid-pandemic. The aim was to build a new type of contemporary art gallery that moves with the pace of modern life and responds to the needs of artists and collectors quickly and creatively.
2. Where and how do you find new artists to exhibit and what do you look for when considering a new artist for your gallery?
I've longstanding ties and happy with most of the artists in our roster. New artists tend to come referred to us by friends in the art world. We go to degree shows and look at instagram but we never take unsolicited applications.
3. What do you think makes the art scene in London unique?
Its architecture and history - you can barely move in central London for pubs haunted by the antiheros of art history. Artists (just about) still live here and given that you can buy good art affordably if you know where to look, there are too many potential collectors to count.
4. Choose your 3 favourite artworks to date.
- Titian's "Bacchus and Ariadne".
- Emin's "My bed".
- Manet's "Le Déjeuner sur l'herbe".
5. Can you tell us about your upcoming shows?
We are super excited for Marie's-Elisabeth Merlin's debut London solo show "Mondes Hypothétique". Marie's work got picked up by the FT among others at the start of the year on our stand at LAF. This show is a brand new body of paintings which is on a level beyond anything she's done before. We also have a Summer group show inspired by 'The Wind in the Willows' featuring Charlie Billingham, Stanley Donwood, Malene Hartmann-Rasmssen, Gina Soden and Rupert Muldoon. There are some upcoming announcements in the pipeline too. Watch this space.
6. The art market is constantly changing, bringing both new opportunities and challenges to its key players. How do you, as a gallery, experience the current art market? Do you see a change in the relationship between gallerists and collectors?
Collectors more broadly are more empowered and better equipped to make decisions. I think this is good news as it forces us dealers to up our game - to work harder for our artists and operate more transparently and more intelligently.