Nicolas Hugo in his London home. Photo by Rosie Osborne.
So, why London?
It seemed like the obvious next step to me. I opened my gallery in Paris when I was 23 in my own apartment. I was just a kid then. The project got bigger and bigger and now that it’s the four year anniversary of the gallery, I knew that it was time to change things up a bit. The fact that I’ve always dreamed of living in London, with it being the ideal next location for the gallery – well, it made the decision pretty easy! The art scene here is so full. The fact that there are multiple openings and shows happening each day all over the city is really stimulating.
What are your observations about the gallery scene in London, compared to the scene in Paris
To me, the best galleries are in London, because the best collectors are here as well. The shows here are of such a high quality. London is so much bigger than Paris so the choice is just enormous. Even the collecting scene here is totally different in my opinion. It feels more open, and more adaptable to the changing gallery model.
Why do you think so many young French entrepreneurs are moving to London?
I don’t think it’s a total coincidence. I love my country and I’m so proud to be French, but when you’re a young entrepreneur, it’s not always easy. There are advantages of course, but on the whole, I find that in France there’s not only a lack of progress, but a fear of progress. It’s sad because France wasn’t like that before. By wanting to remain authentic, the evolution is stunted. At 27, I felt like I needed to evolve, as well as the gallery. You can’t stay in a cocoon.
How has social media helped you to develop your gallery?
Social media is everything to my business – I’d even go as far as to say that it’s 100% of the communication of my gallery. I make practically all of my sales through Instagram and Facebook. Instagram has become absolutely vital over the last two years in the art world. I built my business from scratch with the help of social media and honestly, I’d be lost without it as my main marketing and communications tool.
Nicolas Hugo’s home and office in West London.
What has been the biggest change that you have noticed in the gallery world since you started seven years ago?
I think that in the past, roles in the art world were much more defined. Gallerists were doing the selling, curators were setting up the exhibitions and artists were producing the work. Now, anyone can do any of those things and all roles have become flexible to anyone. There are literally no rules anymore. It’s kind of the same as what’s happening with Uber and Airbnb – anyone can become a driver, a host, a guest, overnight, just as they can become a curator.
So, in a way, it’s a bit of a democratisation…?
Yes, I think so. The field of possibility in infinite. Now that we know we can do anything, especially online, I think we’d be missing out to not push these opportunities as far as they can go. If I’m lucky enough to still be a gallerist in ten years’ time, I’d like to think that I was maybe a tiny part of the development of this movement, of this changing gallery model. It’s a really exciting time.
What do you think the advantages are of pop-up shows as opposed to a fixed gallery space
There are so many. The fact is that people are now ‘following’ people – not only on social networks, but also in the sense that art-lovers are following the actual artists, instead of galleries themselves. Artists are their own brand in a way, and wherever they’re exhibited, people will go there to see their work. I like to think that seeing paintings in different contexts helps collectors to picture the artwork in different atmospheres too. Of course, there are downsides too though. Pop-up shows are a bit more risky, they’re a bit of a one-shot, but if they’re well-prepared, they can be a huge success and really surprise people.
What can we expect from Galerie Nicolas Hugo in London?
Phew! A busy year ahead. I’m currently planning a few exhibitions – the first one for December in London. My artist Margaux Valengin has a really packed schedule, with a lot of shows lined up for 2017. I’m also developing the art advisory element of the business too, so I’m looking forward to furthering that side of things. I’d like the identity and brand of my gallery to stay the same, with the aim of helping my artists to evolve, whilst they help me to evolve too. To me, evolution is the key.
Nicolas Hugo’s home and office in West London.
