[Spence Gallery](https://spencegallery.com/) has built a reputation for its curation of artwork from a roster of artists known for innovation, challenge, and diversity.  In 2005, founder Joan Spence got inspired to establish an art gallery where inclusion was encouraged rather than exclusivity.  Joan envisioned a gallery space that embraced different contemporary artistic voices and removed entry barriers to acquiring fine art.    

From the outset, Spence Gallery offered original artworks by mostly Canadian and a few international artists at accessible price points.  The gallery also became a platform where first-time visitors, art enthusiasts, and seasoned collectors alike could engage with fine art without feeling intimidated.  

Joan has championed and journeyed with most of artists since the early days of the gallery.  With participation in over 50 art fairs in the past 10 years, the gallery has provided the artists exposure to an international audience.  As a frequent exhibitor, Spence Gallery has gained honourable mentions and accolades by organizers of the international Affordable Art Fair.     

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#### Tell us about the founding story of Spence Gallery. What was the vision that started it all?
The gallery was founded in 2005 with an awareness that there was, at that time, very little diversity of artists in the galleries around Toronto. Therefore, the recruitment of the first set of artists for the gallery was very deliberate – I made it known that I wanted to exhibit works by artists with a Caribbean, Latin, and African heritage. For the first few years, we were very deliberate, recognizing that other galleries might not have been as welcoming for these artists. Attitudes are different now, and many galleries are more inclusive. It appears this is not just a trend but a real shift in the way galleries and curators view the creators of art, and that we continue to see more diversity in the types of art and perspectives that come from inclusivity.


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#### How has your curatorial vision evolved since opening, and what has remained constant?

As the gallery evolved, I became aware that there was a male-female imbalance among the artists represented and I set out to correct that. The deliberate effort to create a balance of the gender representation didn’t originate from questions about the female gaze or female voice, it was more an awareness that there were lots of female artists out there but there was under-representation in this female-owned gallery. At the moment we have more or less a 50-50 balance of male to female artists in the gallery but it wasn’t always that way. Most of the artists we’ve added to our roster in the past 5-7 years have been female artists and that was deliberate. 

Perhaps these two issues were drivers for me because I come from a background in social policy and hence I tend to think about these things.

Participating in international art fairs is something that we’re known for – that was a significant step to embrace that as part of the identity of the gallery. 


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#### How would you characterize the current Toronto art market? What makes it unique?

Sadly, one might characterize the Toronto art market as one with high supply and low demand. This is one of the reasons doing international art fairs make sense for us. We have an abundance of really good, talented and driven artists in Toronto but this is not necessarily matched with art buyers.

Another thing that makes the Toronto art market unique is that there are several annual “artist art fairs” so people are used to, trained for and expect to buy art from artists. There is also a healthy amount of government support for artists at all levels of government (in Canada). Many people will say it’s not enough but it better than most parts of the world and this support for artists helps to create a supply of really good artists/art. At the same time, there is only one (international) art fair in Canada which happens in Toronto annually and there are very few international gallery.

Real estate has also affected the Toronto art scene – as real estate prices rose so did commercial rents which lead to a significant reduction in the number of operating galleries which in turn lead to even greater success of the “artist art fairs” as the place to purchase art. While this is great for artists – it leaves a gap in the art market. 
The result of that Toronto is not a major art centre.  




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#### What developments in the art world get you most excited for the next 10-15 years?

I’m excited to see how a new generation of art collectors will influence and define the art world in upcoming years. I’m curious to see how they will continue to influence art in the online space but also how they will influence what happens in the physical spaces that we now call galleries. Basically, looking forward to how the new generation will influence how we view, experience and collect art. 

#### What emerging trends in collecting or artist practice are you paying attention to?
Since I’m not usually an early adopter, I’m curious to see how I and the entity that is the gallery will respond to changes in the art world. I have some vague ideas of how the gallery will evolve but we’re basically staying versatile and trying to be open to however the wind blows.




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#### Walk us through your approach to artist representation. What draws you to particular artists?

Basically, I gravitate towards artists that I find interesting and whose work I like, work that speaks to me. I’m drawn to artists that have a unique way of working, unique process or are using material in an interesting way. Further, I also have to like the artist (the person) – after all we’re going to have a long and involved relationship so you have to get along. The result of this approach to artist representation means the gallery has a very eclectic roster. This has its positives and negatives but I’ve come to own and embrace it.


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#### Describe your process for developing exhibitions and building artist careers.

In the early years, the gallery really focused on mounting exhibitions – about 8 to 10 per year (primarily group shows with the occasional solo show). Just over 10 years in, we started doing art fairs and as we increased the number of art fairs we reduced our gallery exhibitions. Art fairs became a point of differentiation and that was our way of offering opportunities to artist that other local galleries did not offer. 

The gallery has a “program” (not official or public) where we will sometimes bring an artist on the roster when they might not be fully “ready” but the potential is there and we’ll work with the artist to see how they develop. You could call it a development program and whether intentional or coincidental it’s usually with female or BIPOC artists. One cannot do this too often and with too many artists because, at the end of the day we also need to bring funds in.


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#### What role do you play beyond traditional gallery functions—mentorship, career development, etc.?

Personally, I’m motivated by seeing artists develop and come into their own, gain confidence in their approach, their style, their voice so to speak. And, if I can be a part of that it’s feel very reassuring. I think that participating internationally helps build artists’ confidence (for those that need that). 


Spence Gallery: Creative Journeys and Inspirations

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