Small Business Spotlight: Emma Wilson on Pivoting an Art Gallery During a Global Pandemic

Today I have with me in the studio a returning guest, and that is Emma Wilson, who is the director of the Portland Art Gallery. Nice to see you. Nice to see you as well, Lisa. Thank you for having me. Well, I'm always glad to have you. I know it's not exactly something you love doing, not because you dislike me, but just because I love You. Aw, That's so nice. I love you too. Thank you. But I, but I know that this isn't always that comfortable for you. Absolutely not. You're speaking to a person that used to take Propanol before. She used to have to introduce guests when she worked at the museum down in Georgia, . So it has been a trajectory for me for sure. Well, that makes it even more impressive, though. I mean, the, the fact that you, I, I think you have needed to kind of consistently step outside of your comfort zone over the entire time I've known you, but in particular, the fact that you're here yet again, and it's kind of speaks to tremendous growth. Well, it also speaks to yes, very much feeling the challenge and, and accepting that challenge of what we really wanna be able to communicate and share all of what the gallery is offering. And we ask our artists to push themselves every single day. And I would be a hypocrite if I didn't do the same for myself. So it is not necessarily something that is hugely comfortable for me all the time, sometimes more than others, but it does get better. I have noticed that, and you certainly make it much more comfortable for, for your, your guests and for people all around. Well, thank you. And also for you, I think, um, I think you're absolutely right. The, the need to kind of, if you're gonna ask other people to push themselves, to be willing to push yourself as well. And I think the reason I'm specifically bringing this up now, cause I could have just been like, oh, no big deal, uh, know, is that I think a lot of people feel that way. A lot of people feel like, um, doing something that's outside their comfort zone, they just avoid it. Absolutely. And many of us, we do it in all different areas and ways in our life, right. So, but I do think that that's something that's amazing about the visual arts or any performing arts is that you, those people are making, not those people, but artists regular with regularity make themselves vulnerable and to public audiences everywhere. Maybe not, I mean, maybe it's just un privately, but when they make that decision to be public with what it is that there is their art, I have such tremendous respect for that. And, um, I think that is something that we can all really learn from in terms of paying attention to people in the arts. Yeah, that's a, that's a really good point. I mean, really in any sort of art or artistic endeavor, you're, you end up putting something out there that other people then process and then you hear their responses and you maybe they're positive and maybe they're not positive. So that, that actually takes a willingness to kind of step into uncertainty and trepidation. And, and so I, I certainly have never painted anything that I think I'd want anybody to ever see . It's not where my skills lie. I'm not being self-critical, but, but I think that that's a hard thing to do. I agree. Yeah. I end up thinking also though, that sometimes I think fuels a certain competition that artists experience with each other and not in an unhealthy way. I think it inspires and can actually fuel artists. But I also, I'm, I know that they wonder, you know, why would a person be drawn to this person's work in, in terms of like our gallery artist, for example, which I know mo you know, most intimately, but why is a client drawn to this person's work as opposed to mine? Or, but not necessarily because they're wanting to change or whatever it is, but they're wanting to better understand. But I think it's also, you know, it's a bit of a competitive environment and, um, I don't think people necessarily consider it to be as such. So, Yeah, that's an interesting observation. I, I would think that that makes it even more challenging to put your own work on the wall if you're thinking, oh, well, this person next to me, their work somehow has more people standing in front of it, or there's a little dot that indicates that it's been sold in. Mine doesn't. So there's all kinds of reasons why one wouldn't wanna do art. But on the flip side, there's all kinds of reasons why it's important for people to continue doing art and for the Portland Art Gallery to continue making this available to us All. Absolutely. And that's what we try to really encourage. Artists are such an amazing dynamic group of, of people, and they're, they are regularly asking for feedback or for ideas or inspiration, or they wanna sort of get an, a better understanding of how people are responding to their work. But really it's just, um, it's just such a remarkable opportunity to be able to help them and, and, and also be able to engage in those conversations for, for everybody to have a deeper understanding of their inspiration, of their process and how we might be able to communicate that to our audiences. Because that also can make a, a big difference if you're communi, if you're able to communicate with a client about the en caustic process, for example, that brings a whole nother level of understanding for the viewer and the client. And then therefore, they might have a different attachment or connection with the work. So, Yeah, I mean, you raised something that I think about a lot as a result of doing this work here, and that is that, um, I'm continually learning new vocabulary that is in the visual arts. Um, you know, I, I know a lot more about process than I ever would've if I hadn't had these conversations. And that means when I'm standing in front of a piece of art, I, I now can say, oh, that's a watercolor. And I just talked to somebody and they told me, here, here are the reasons why watercolors are a little more challenging and, and then this is, is gush and this is what we can use this for. And, and it, it's kind of having that background on the, on the tools and the approaches really does make it much more interesting. Yeah, it strengthens the understanding for sure. And people are more curious about it. Uh, I think we try, you know, through programs like this and through our website and through interviews and from our openings with artists or, you know, regularly attend, you know, we really encourage and try to help people understand that process, which is very personal for an artist, but it is a way, and again, to be able to make that connection. So, uh, I'm so appreciative of our artists that, that really take the time to communicate that as best that they can for, for all of us. For me, I learn all the time every day. Um, I have that opportunity to, to learn. So I think, you know, I, I think about the, um, just art in general and that it becomes this in school, for example, you have history, uh, reading art, and each of those is just a little, it's like one tiny little bit of a huge expanse of knowledge and so many different additional things that we could know about it. So many of us just go through and we get kind of the barest slice of each of these specific fields. But I think art is probably one that doesn't get as much, um, recognition as the kind of the stem things these days. Yeah. And I think that there's some, definitely some school districts that are trying to create more of a steam approach as opposed to stem to be able to include the arts in it. But I just think of even my son, my son David is a second year at, um, university of Denver, and he is very interested in art. He's going into the biochem field, that's his major, but he's trying to do a minor in art and he's having a very hard gaining acc hard time gaining access to classes because they're so small or because there's not as many offerings. And I think that's sort of unfortunate, but I, I, so he is gonna explore perhaps an art history class or some, some other, um, he'll find his way to do it. And he's also finding his way to using mediums in this house, in, in the home and, and creating pieces that he's enjoying and he's learning, he's remembering that he learned in high school and whatnot. But overall, it's, I think, harder to sometimes gain access to that. And I loved what Greg Johnson said, what grog said in his interview, though, about really intentionally paying attention to art and culture as he was moving around the globe, because it is such the magnificent connector, and it is a way to try to really help understand each other and understand ourselves better. So, um, I'm hopeful that there'll be more, um, opportunities for people to, you know, get training or to, to pursue art education. But, um, I think as long as we're one, one of the responsibilities we have is to really keep it in the forefront or keep it in front of people, um, and people in front of people on their computer screen or in the gallery or, uh, at events or wherever we might be. We recently, recently had at the gallery the Evergreen event. Yes. Which, um, we finally brought back after a few years. Yay. It's so fun in person. Really nice. Um, and what I love seeing is the interaction between the artists and one another, but then the artists and people in the community, whether they're art buyers or not art buyers. And I, I think when I hear the conversations that are going on, it, it, it again, it, it increases that accessibility and whether it's, oh, well this person's just a regular person like me, and this is their art on the wall, and it makes it feel more possible for me to maybe buy this art off this wall and go bring it to my wall because the, it is ticking it out of that rarefied air that can sometimes be a little intimidating. Yeah, absolutely. It was such a great celebration. We really were so excited to be able to, I mean, we had one last year, but it felt a little bit different. Like this year people felt like they were, I mean, um, just ready to be there and be engaging with each other and not quite as protected with masks or whatever. But we obviously know that there are still, um, reasons to be careful, but it was just such a fun celebration. And we had, I believe, 27 of our artists show up, and we had so many of our clients and community members there. And there was, there was just this, um, conversation about art all around in, in every, uh, wherever you moved about the gallery and just in the way in which it brings people together. And it just was, it just felt and is an exciting time for, um, for the gallery and for our gallery community. And as we look forward into 2023 and, you know, it was just, it was, it almost felt, I was describing earlier, like 2021 to 2022, almost felt like one year, but now that was actually two distinctive years. So it does feel as though it, there's this moment of, um, we can pause a little bit, but pause with excitement for what's next as opposed to just pausing. Like, cuz we have to regroup and figure out, uh, you know, it's, it's, um, it just has a different energy, um, right now and, or it feels different. And we had another event this week, a collaboration with Camden National Bank, and it was packed and it was the same type of energy and we had repeat clients there that were excited to see the work. And we had new clients there and new opportunities that developed and just really positive energy that was being fostered and really because of the arts that were there. I've also enjoyed bringing people kind of back into the, back into the community, which I know, um, Emily Isaacson, Dr. Emily Isaacson was there with her group from Classical Uprising. And, you know, she's doing so much work to make music more accessible in the community. And what I have always loved, particularly here in Maine, is just that, you know, people kind of, they connect and maybe they drift apart for a bit, but then they come back into your life and they enrich it in a different way. And this kind of continual, um, whether you're directly in front of somebody or not, this continual knowing that there's that connection and that it will likely emerge again at some point in the future is, is is very exciting. It is. And I hadn't never had the opportunity, I hadn't yet met Emily in person, but I certainly was admir. I've been in an admirer of her work and it's so, it was, uh, so enjoyable. We had a, uh, an event that was actually like a salon style musical event at the gallery. They had approached us if we would be open to them using the space, which we were very excited about. And then we had, um, singers, um, perform when you first came into Evergreen. And then Emily had a chance to be able to make a few remarks. But, you know, she really encapsulates this excitement and energy around the arts in Portland and what we can be and how in the direction which we can go. And we're looking forward actually in, in next year to be continuing to work together, not only at our openings, but also when they do their, um, classical uprising festival and, you know, and, and other just opportunities where we have this beautiful space in the middle of the old port that has really pretty strong acoustics . And so, um, it just feels like a great partnership and, and we're both very excited about it. So You're also, um, kind of going out into the world a little bit more. I know you have a collaboration with the Cumberland Club and that you've placed some wonderful art there and had, um, a reception and, and I, I, I also love that because there is a sense of meeting people where they are. Yeah, absolutely. That's been a fun project to work on as well, our partnership to work on, uh, with the Cumberland Club. So we had our first viewing, we have William Crosby on view, and we have a few other locations in the Cumberland Club where there's some other artists on view, but mostly in this one room called the Buxton Room, our, our Works by William Crosby. And so over the next year, we're gonna change that out quarterly. So the next artist, it will be Cooper Dragone. And it has, it was so enjoyable to, uh, meet people there that evening, um, members and also artists that actually, what was another really tender part of it was that other fellow artists of bills from the Portland Art Gallery came to support him and to support the project, um, and to support the partnership. So it was really, um, it, it was, it's again, just another thing, something to look forward to in this coming year or next year. Um, and, uh, they've, it, it, we'll just see where it goes, but it, for right now, it's just, um, that's what the plan is. We're gonna have those quarterly and Cooper is up next and we're gonna keep doing it. It was a challenge to figure out how to install the pieces right outta the gate, but we got that covered. It's a very old, as you know, um, building and they've got some creative ways of installing the artwork, but we made it happen. . So You've also done, you and other people who work in the gallery have done a great job with helping people in their homes and the installations that you go out and do. And from what I understand, I mean, the people are very appreciative. You were recently at a dinner thanking you for the work that you did to help create this person's home. I was just reflecting on this one week, and it's, and it, and there's been from last Saturday when I was in Boston, actually, a a client came into the gallery, had seen a jean jack piece, absolutely fell in love with it. And then it worked so that I was able to deliver that in to her beautiful home in Boston, right on Beacon Street. But then at three young kids, the excitement around them coming to see what, you know, mom's decision. And then, then just Monday going to this wonderful dinner where it was a celebration of the creatives that were involved with the project was architects and designers and, um, landscape architect. And, you know, it just was a really tender and meaningful moment. And because the couple was really communicating to all of us the importance of the creative industry in their lives, and it really, all of those pieces tell the story of, of who they are as a couple. It was such a privilege to be there, really. And then the next day going out to another home, uh, and doing an installation of, uh, 48 by 90 Triptic that Dorothea Cross had created was a commission. And the client met Dorothea, had loved Dorothea's work, didn't see the final piece, but Missy, one of my colleagues, you know, we went out and we installed it. And it's just such a, it's again, such a privilege and such an opportunity to be able to see, um, people's homes. You know, as a social worker, I always felt like this privilege of being able to go and do home visits, it's the same, it's the same, you know, idea and it's the same dynamic. And so, and then we have something like completely different. Then we have somebody that night that sends us an online inquiry who lives in California. And so the next day a Cooper Dragon up painting site unseen is getting, you know, shipped to California. So all these different ways in which we're able to interact with our clients, but the in-home experience, it's really very tender and, and very special. The art gallery does do these virtual installs so that people can see what something may look like on their wall based on essentially providing a photograph mm-hmm. and then often we'll choose to purchase the piece. Do you then have people who will, who have never been to the gallery before, got a piece that they bought virtually, and then come in to the gallery to actually see things in person? Have you ever had that happen yet? We definitely have had people purchase work without coming into the gallery, but I'm not a hundred percent sure that I can think of a person right off the top of my head around the virtual install, um, connection. But they've come into the gallery cause they've made an intentional visit to the gallery. But, um, but short answer is yes. I mean, people that've taken the time to do the virtual installation tend to find their way to the gallery as well, because sometimes what happens, I love, I have like, I have a little bit of a mixed feelings about virtual installed , but I do absolutely love it as a resource. It's so tremendously important, just like our mattor where you're able to walk through and really stand and, and be. But it's, it's just sometimes things, you know, sometimes it's worth just taking the risk, like whether or not it's two inches wrong. Like eh, you know, just if you love the piece, it's gonna work. The two inches aren't gonna make the difference. And so that's sometimes where I feel like it can be, um, a little bit of too much thinking about it and not much, uh, that sounds disrespectful, but y y you know, you sometimes you just know you, they love the piece, so you'll make it work, you know? And so that's when I don't want the virtual install to come kind of into play because then they get sort of measurement focused. But, um, but it is, but most of all, it is an absolute tremendous resource that we have available on our website. And then people get excited to come in and see the works in person as well when they can. Yeah. When they can. One thing that was new this time that I thought was really quite brilliant, and I don't think it, I think you have to be there to experience it, um, was the little corner area that was put, uh, together for Matt Barter's Sculptures. Yeah. It was just, it was such a magical little enclave. I wanted to go hang out back there with the little guys and like the, the, the figures. So who came up with that idea? Oh, Matt. So Matt has, I mean, his can town company store project is something that he's been cultivating and, and curating, um, and creating, uh, it's a, it's a dedication and an acknowledgement of the down East main community and the, and the sardine industry and the changes that happen there. And so this is a replica of how he imagined a down East country store to be. So there are y you know, literally fashioned cans out of wood of different products you could buy. There's Coca-Cola, there's sardines, of course there's meat products. But so he saw the space and we were doing evergreen where we knew everybody would, you know, the, there was no designated artist. And he approached us and said, what would you think if that space could be, um, the can town company store? And it was perfect. So we said yes, and, and he put it together. He came in and um, he'll be there occasionally to sort of man the store and be able to visit with, um, gallery visitors. And it's been, it's been a lot of fun to have. Yep. You've also, um, put some additional, I guess they're walls up, uh, in the front of the gallery so that you could have more of the larger format pieces. Yeah. Which is, it's an interesting, um, when I think about it, I, I think it's an, an interesting way to be creative about using space in a, in a way that was maybe the way that not other people had intended it previously. Mm-hmm. . Um, and you even, there's even a little, and I know this is not recent, so anybody who's been there the last year probably has already seen this, but it's almost like a little stage that is there so that when you have your art openings, then people get to stand on the stage and then it brings you up above so everybody can see you and they can hear you. And, and I really like the intentional nature of, um, the way that you're using the space because you only get so many square feet and you have a lot of wonderful artists that you wanna showcase and you wanna do things in a way that can always seeking to elevate. So I give you a lot of credit for that. Thank you. Yeah, it is definitely, we pay a lot of attention to what the in gallery experience is from the moment the person walks in the door. And so it did feel as though though that those front windows that something more could be done here. I mean, we, we had had easels there, you know, and those get moved around, they can be a little clunky. We had a temporary wall there that got moved around and it, it's definitely served, its its function, but then it really was like, wow, this, what if we did, what if we didn't make everything go this direction? And we made some things go this direction and it just, it opened up the sight lines for people when they come in. It opens up sight lines for people that are on the street. Um, so it really, uh, created this, these wonderful opportunities to be able to showcase some larger pieces of work, um, right in the window. So for people to be able to walk by and be invited in and, um, by seeing that. And then also, um, we we're, it's all gonna be totally repainted in the new year. We have new lighting, which I'm personally extremely excited about because, uh, it's just to be able to create that consistent lighting throughout the gallery and reflect it on the artwork is just usually important. So, you know, artwork in a gallery doesn't always mimic or, or reflect how what it might look in one's home because we don't, many people don't live in an all white walled wood, floored, you know. Um, but anything that we can do to kind of, um, to just make sure it's, the artwork is getting its best vantage point so that you're seeing it in its best light, you're seeing it. I mean, we'll move things around for people if it seems like it would be more in line with where, you know, what their home environment is, one they're viewing. But, you know, it's really important to try to, to be able to showcase that. So, so that's been a fun part of the, this year between the lighting and then it very excited that just in the new year, uh, the whole gallery will be repainted. So we'll be heading into 2023 with a fresh coat of paint. And we all know that there's not much better than that . So from a gallery perspective, Yes, that's very true. Anything else we should know about regarding 2023? So we, well, we're closing in on the exterior. So some visitors that may have visited with us over the last hmm hmm, seven, eight months maybe have seen some construction type, um, things happening in the exterior that is finishing actually as we're speaking today. There's there some of the final steps are being made of final in new steps as well as, you know, new, um, brick laying. And so, um, just more attention finishing up this year, really paying attention to the exterior facade of the building. It is a beautiful building and as you, and it's an old and, uh, historic building. So with that comes challenges when you're doing any type of new project, but, um, we are very excited about the fact that it's getting wrapped up, so people coming by and come on in. So, yeah. And I believe you even worked with somebody who is providing, essentially growing in living art, which now is inside the gallery, which will go outside the gallery once that's Finished. Absolutely. It was intended to be outside the gallery already, but that's okay. We integrated it, we put a little, you know, fairy lights on it for the holidays and now we'll, they'll be making their way out to the exterior, which is gonna strengthen and enhance in, um, that experience as well. So, yeah. It's looking good. I think so. , thanks. Yeah. Yeah. What about you? Anything new and exciting in your life this upcoming year? Uh, uh, I mean, you meet every challenge, just head on. Just gotta do it. I mean, I've seen you, you've moved from, you know, where we are sitting now, Yarmouth to Yeah. Portland, you changed that in your life. You know, your final child is now been launched mm-hmm. , I mean, what's next for you? Well, I mean, work creates so much excitement and that's ever changing. So that is something that I'm, I constantly feel, um, encouraged and stimulated by and just ready to look at the next, the next thing is we don't, we don't really have, we're not very good at just sort of sitting still and waiting for people to find us. We really are always looking for those opportunities. So that creates, um, a certain excitement in my life. Um, I do have three children. You mentioned my youngest, but my oldest moved to Alaska a couple months ago. And so, and then my middle daughter is in Uganda. Um, and then David is of course, and my youngest is in Denver. So my three kids are really launched right now. Um, but almost in a way that's creating more like meeting, I almost, I'm paying more attention even though that they're further away. So I'm hoping that perhaps a visit to see Johanna and Uganda is gonna happen, but we'll see. I'm not so sure. So that's getting, um, that may, that may be something to really look forward to. And I, I, I know that it will just expand my life experience too. So Yes, I've always felt that if you have grown children mm-hmm. and they go somewhere, it's a great excuse to travel. It's An excuse to travel. So I, I mean, , I don't, I don't know if I can go to all of those places, but, you know, I, I do think, you know, I don't remember my parents really coming and were maybe cuz I was like in Boston and they were like, whatever. But I don't, you know, I don't remember them being as interested or as involved, but, um, but it's true. It's like why not? I mean, we're so much more global. I feel like my kids are so much more, um, connected globally than I was as a, as a high school and college students. So, um, I'm very appreciative of their opportunities and that they're, they're, they're doing this and I'm so proud of them. Um, but it's also sort of reminds us like, okay, well what might I do then? You know? So, um, yeah, I'm not so sure. I'm not sure. Lisa, it's only December. So Yes. As we're, as we're taping this, although by the time it airs That's true. It'll be true firmly into 2023. That's true. So we'll have to check back in and see if We'll have to check back in. Yeah. If you went down the path you thought you were going to. Yeah. Oh, I know. Yeah, though, I just, again, I just think that there's, um, it's just, it's just so, such a privilege to be representing the artist, to be working with phenomenal clients and, you know, their stories really take me into different places all the time. So I feel like I'm such, um, there's just, I just don't know what's gonna happen because we don't, and that's okay. You know, just sort of being present with it and staying with it and, and, um, yeah. Being hopeful. So how about you? Well, I can honestly say that one of the most exciting things about, um, the work that I've done with the gallery is the fact that you and Kevin and actually everybody at the gallery is continually making connections with people that are, have an interest in art. And so I've really loved having the opportunity to interview people who have this connection to art. And because my current professional life is very, uh, focused on the healthcare field and the work that I do as a physician to have this, this little space of time where I actually take time off of my other job and have these great connections and these great conversations with people, um, for me that has really been so gratifying. And, um, I mean, I'd love to say that I have more and bigger things going on in my personal life, but actually, like you, I also work a lot. So I feel like, yeah, I really enjoy the work that I do on both sides, whether it's for the gallery or as a physician. And I think I appreciate your being out there in the world, being like, oh, here's this person. He came to one of our functions and he wrote a book. Would you like to interview him? I feel like you, you've done such a nice job making those connections that I end up benefiting from . So it's a re it's a reciprocal relationship for sure. Yeah. Well, so I appreciate them. Yeah, I think that it is reciprocal and I think that that for me is what, what is so important is that there is some element of, uh, I think when I was talking to Jill Hoy, she talked about art as kind of the process of going underground. And sometimes I feel like medicine is the Process