What I look for in an artist
Personal insights from a gallerist
Running a gallery means spending a lot of time talking to artists, collectors, visitors, and sometimes simply observing. I’m Yvonne, the founder of Root Gallery which opened in 2018. I rarely take the time to write about my work, but with our reopening ahead and a few new collaborations on the horizon, it felt like the right moment to share something more personal: how I choose the artists I work with, and what matters most to me in that process.
Photography by Jacqueline Fuijkschot
It starts with people
At Root Gallery, we don’t represent artworks. We represent people. That means we take time to get to know each other. We usually start with a small collaboration or a site-specific project. We talk about what representation means, whether we have aligned goals, and if there’s a foundation of trust to build on. Only then does the real work begin.
I only work with artists who live within travel distance. Sometimes that’s a short drive, sometimes it’s a full day on the road. But it needs to be possible to visit the studio, see new work in person, and have real conversations. Not just for practical reasons, but because it reflects how I want to work, carefully, sustainably, and with attention. We may present internationally, but the foundation is local.
I also don’t work with open calls or accept unsolicited portfolios. Not because I don’t believe in emerging talent, but because I prefer to build relationships gradually. I follow an artist’s work over time - through exhibitions, conversations, and studio visits - and look for consistency, both in the work and in how they reflect on it. It’s a slow process, and intentionally so.
The work has to move me
This may sound obvious, but it’s essential. I don’t have to fall in love with every single piece, but I need to feel connected to the artist’s practice. I need to want to live with the work myself, to speak about it with genuine enthusiasm. If the work leaves me cold, I won’t show it.
Sometimes I meet brilliant artists whose work I admire, but it’s not the right match. Artist–gallery relationships are long-term collaborations. Saying no is never about quality alone; it’s about timing, trust, and shared direction.
A love for process
I’m drawn to artists who are deeply invested in their process. Take Donald Schenkel, for example. For over ten years he has explored the nuances of oil paint and colour transitions, beginning with only blue, to fully understand how colour behaves. Years later, he still speaks with great passion about colour theory, perception, and the technical demands of pigment.
Or Lisette Schumacher, who radically shifted her materials from canvas and wood to a moe transplant material. Her painterly language remained, but the impact of the work changed completely. By rethinking her surface, she deepened the story she wanted to tell. That kind of evolution - grounded in critical thinking and experimentation - is something I deeply value.
When something feels right, I often sense it early on, but I rarely act on impulse. I let ideas simmer, revisit the work later, and look for depth and consistency. It’s a mix of intuition and patience, two things I’ve learned to trust.
No room for ego
Working with a gallery means working closely together, and that only works if there’s mutual respect, flexibility, and shared commitment. I’m not interested in ego-driven careers. I look for artists who enjoy what they do, who are realistic, open, and willing to put in the work. Because it is hard work. Behind every exhibition is a long road of research, trial, reflection, and production. Enthusiasm and staying grounded go hand in hand.
Ambition matters. Not the loud kind, but the steady drive to keep refining your voice and to take your work seriously.
Artists are not outside the world
I don’t typically work with overtly political or activist art. But I do believe artists must be aware of the world they live in. A world that’s shifting, complex, and full of beauty too. Whether your work invites stillness, questions systems, or offers a moment of joy, it reflects a perspective. That awareness matters.
Growth through curiosity
I look for artists who stay true to their vision, but who aren’t afraid to evolve. That doesn’t always mean holding on to everything. Sometimes it means letting go of what no longer fits, and that’s part of the process too.
Like Saïd Kinos, whose work still includes large-scale murals, but now also encompasses layered paintings, objects, and installations. He keeps exploring new formats, themes, and technical possibilities, not for the sake of novelty, but out of a sincere desire to move forward.
I’m drawn to artists who think across formats, who combine paintings on canvas with works on paper, or move between sculpture and installation. It allows for richer storytelling and more diverse projects, and it helps draw in different kinds of collectors and audiences. It shows range, but also clarity of voice.
As a gallerist, I see it as part of my role to challenge artists, to ask questions, to open up possibilities, and to support their next steps. It’s a joy to work with someone who’s willing to experiment, while staying rooted in their own vision.
Materials matter
I believe in knowing your materials. Their history, how they age, how they’re perceived. Whether it’s oil paint, glass, paper or plastic, every material carries meaning. I look for artists who work with care, who love their medium, and who want to understand it deeply.
And yes, I care about quality. Strong stretchers, thoughtful framing, well-made certificates. These details may seem small, but they matter when a work is meant to last a lifetime..
Time and trust
I sometimes follow an artist for months, even years, before offering representation. Take Karen van de Vliet. I first knew her as a portrait painter, then watched her move towards abstraction. When I saw Brighten My Northern Sky, I knew it clicked. We started working together, and the collaboration has been strong ever since. (That painting, by the way, still hasn’t found a home, something I honestly don’t understand.)
I don’t believe in promising success. The art market is unpredictable. But I do believe in building something over time. In seeing if a collaboration can grow into what both sides are looking for. ‘More sales’ is never the goal, it’s hopefully the result.
Artist Karen van de Vliet
Brighten My Northern Sky (150 x 115 cm) by Karen van de Vliet
What it means to be a gallerist
Being a gallerist isn’t about selecting and selling. Our work is about service, to artists, collectors, and the wider community. We support, connect, and think ahead. That’s where the real value lies.
Root Gallery isn’t a showroom. It’s a place where things can unfold. Where a small first step might lead to years of collaboration. I hope visitors feel that, and artists too.
Curious to discover who will be joining the gallery this autumn?
Stay up to date via our newsletter or Instagram, we can’t wait to share more soon.
