Helen Gory Galerie

Posted: 23 Aug 2011  |  By: Annemarie Lopez

With a functional grey concrete entrance set back from a narrow Prahran street lined with office blocks and garages, the Helen Gory Galerie doesn’t immediately announce itself as a crucible for contemporary art. But it isn’t just the minimalist space or its clean interior of polished concrete floors and white walls that makes the gallery a foundry for emerging artists and a magnet for a cognoscenti in search of them. It is the enthusiasm and dynamism of founder Helen Gory and her committed team — Nicola Stein and Jemma Clark.

Gory is a gallery owner and director in the true sense of the word — someone directly involved in the nurturing of artists, rather than with the quick turnover of art objects. A former art teacher with a passion for art, she has been operating the Helen Gory Galerie for the past fifteen years.

“I found it really exciting to meet the artists, visit their studios and hear them talk about their practice,” says Gory, who finds one of the most satisfying aspects of having a gallery is bringing people to understanding an artist’s work and sharing that moment when they make a connection. “I wanted to make my gallery accessible and approachable so that people felt comfortable to come in and look and learn and begin collecting art.”

When Gory opened the Galerie, she says most Melbourne galleries were showing established artists. “I wanted to start a gallery that dared to show ‘up and coming artists’ who didn’t yet have a profile.” The Galerie has been recognised for ‘spotting talent’ and Gory is proud of having the confidence to back her judgment and take the lead in showing new artists. Over the years, the gallery has grown and matured, with many of its artists now having national and international profiles including Tim (TV) Moore, Tom Moore, Lorene Taurerewa, Peter Robertson and Deidre But-Husaim. The gallery now primarily represents more established and mid-career artists, though Gory is keen to maintain a platform for emerging artists.

Like a loving parent, Gory can’t bring herself to name favourites, but when prompted she confesses that one of the gallery’s success stories has been Chris Aerfeldt. “Chris’s first solo show in Melbourne was at the gallery, when she was still unknown. She went on to win the Samstag scholarship, moved overseas and had her work snapped up by Charles Saatchi. We’re excited to be showing Chris’s work at the 2012 Melbourne Art Fair.”

The gallery has been a labour of love. “It’s hard work, often unpredictable and can be erratic financially,” says Gory. “You have to be in for the long haul. Building a relationship with artists, institutions and clients, getting people to know your gallery and to trust your judgement – these things take time.”

When Gory came to start a gallery, she sought a space that reflected her aesthetic and would do justice to the art being shown. The Galerie is an old sewing factory, which Gory has renovated several times over the years. “I like the mix of the industrial and the personal.” There are two spaces for showing works, a larger gallery and a more intimate gallery. Gallery 2 overlooks a courtyard and has good natural light. “It used to be an artist studio and we’ve left the random, splattered floor, which adds a lovely sense of history and personality to the space.” The location was also important — off Greville Street, but not on a main road or in a gallery precinct. Gory was drawn to the slightly ‘off the beaten track aspect’, the element of search and discovery that mirrors the process of discovering new art.

Because Gory sees the role of the gallery as championing the artists, not just selling art, she looks for work that resonates strongly with her and her team. There is always an element of personal taste, says Gory, “but over the years I’ve learnt that successfully selecting artists to work with is a balance of being informed and rigorous and being instinctive”.

Gory looks for artists whose work is defined by integrity, considered conceptual content and a strong personal aesthetic. “We are drawn to work that is honest, personal and has a strong narrative content. I believe artists need to have something to say, and the ability to say it with a distinct voice as well as being exceptionally skilled in their chosen medium.”

The Galerie doesn’t limit itself to any one genre or type of work; the art ranges from painting to installation-based practices, glass sculpture and embroidery. But what Gory and her team have always looked for in their artists is the same level of passion commitment they have themselves. Many artists show promise initially, but looking to the long term is what is important for Gory. “I want to represent artists for many years,” she says. “We’re interested in the marathon, not the sprint.”

Images from top:

Luisa Rossitto, Expanding Universe, 2010, watercolour and acrylic on arches paper, 101 x 152cm. Image courtesy the artist and Helen Gory Galerie.

Tom Moore, Continental Drift, 2010, hot joined, blown and solid glass, 28 x 17 x 27cm. Image courtesy the artist and Helen Gory Galerie.

Lorene Taurerewa, The Case of Nathaniel Dobbin, 2009, charcoal on paper, 227 x 152cm. Image courtesy the artist and Helen Gory Galerie. Photograph Jeremy Dillon.

Tai Snaith, Creature Comforts mid Chorus, 2009, watercolour, pencil and gouache on paper, 86 x 66cm. Image courtesy the artist and Helen Gory Galerie. Photograph Jeremy Dillon.

Chris Aerfeldt, The pretty brown horse (with curly hair) is glad to have so much attention, 2006, oil on linen, 137 x 196cm. Image courtesy the artist and Helen Gory Galerie. Photograph Jeremy Dillon.

Teo Treloar, The Science 1, 2010, pencil, watercolour, ink and oil on paper, 28 x 36cm. Image courtesy the artist and Helen Gory Galerie. Photograph Jeremy Dillon.

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