Perspectives from Gallerists. Interview with Noel Guyomarc'h from Galerie Noel Guyomarc'h

Since 1996, Noel Guyomarc'h has been running his eponymous gallery in Montréal. Initially dedicated to local artists, Galerie Noel Guyomarc'h promotes international contemporary jewelry. By showcasing artists from around the world, Noel does what he believes to be the role of a gallerist: to present, promote, and defend the works of the artists he chooses to represent.

Working closely with the artists and building collaborations where support is mutual, the gallery presents six exhibitions per year, often challenging its clientele. As he puts it: He never thinks to please the clientele and invites artists for exhibitions only on artistic reasons.

Active on social media, participating in art fairs like Frame and NYCJW, and engaged in meetings across Europe and America, Noel is dedicated to sharing his vision of contemporary jewelry and aims to educate and introduce new audiences to this art world.


Could you share what inspires you, and what made you decide to run your gallery?
I worked for several years as an assistant in a boutique gallery. My job was to sell, promote, and organize exhibitions, among many other related tasks. It was during this experience that I met contemporary jewelry!

Unfortunately, the place closed for economic reasons. For me, it was important to showcase local talents, so I decided to open my own gallery. Although the work was considerable, this new personal experience was very enriching. I was learning more and more about the world of contemporary jewelry from books and magazines and through my encounters with artists, collectors and curators. It was interesting to meet them, to exchange in person. When I started collaborating with international artists, it was also challenging as all communications were by phone or by writing.


What might be the ideal role of a gallerist for you?
I don't know if there's an ideal role for a gallerist. I believe in trust, honesty, authenticity and respect, principles that must be part of the whole. We wear many hats. We accompany artists in their projects, give them the confidence to continue, and try to sell and defend their art. The history of contemporary jewelry is still young. And these are exciting times. I represent artists from several generations, and their work comes together to offer a portrait of the world of contemporary jewelry. We are building their curriculum vitae by organizing exhibitions and submitting their work to museums, to private collectors, to contests. The main role we have is to educate and initiate new people to this art world.


Please give 3 advises to encourage someone thinking about opening a gallery.
Patience, curiosity, honesty.


Simultaneousness exhibition by Hibernate Collective at Galerie Noel Guyomarc'h



Which artists and/or pieces have particularly marked you in discovering contemporary jewelry?
A bracelet in pink foam tubes, held together by crocheted silver wire by Montreal artist Barbara Stutman. The bracelet's flesh color was striking, vaguely reminiscent of a vagina. As it was a bracelet, you had to put your hand through to wear it...

Barbara Stutman: Bracelet, 1992. Sterling silver wire, pink rubber tube, 12 x 14 x 1 cm. Photo: Anthony McLean.



Can you tell us about your clientele? What type of people are you targeting, and who is interested in your selection? Does it happen that customers buy something purely for investment?
My clientele was very diverse. Of course, there are collectors, notably American and European, but in Canada, they're more casual buyers.
There are also enthusiastic customers who look forward to my artists' temporary exhibitions and new collections, and regularly buy.

However, the clientele is aging - the ones who used to buy a lot and often and who had the knowledge of contemporary art and craft. So I have to work very hard to initiate a new clientele. But I find that anyone who marvels at and is curious about the works on display can eventually buy, without having the idea of building up a collection. We need to spend time educating and encouraging people about contemporary jewelry. But I remain optimistic.


As a physical gallery participating in art fairs, how do you view the shift in collectors' behavior towards attending art fairs rather than visiting galleries?
Art fairs bring together a large number of galleries, giving collectors the opportunity to view, discover and acquire works of art in a single location. But not all galleries have the financial means to take part at these fairs. It's very expensive. Having taken part and still participating in fairs enables me to meet new clients, collectors, and curators. However, I've noticed that clients and collectors like to take a special moment with gallery owners to talk about the artists' work.

At fairs, the atmosphere, the energy, the urgency not to miss the opportunity to acquire the exceptional piece and the sometimes-oppressive crowds don't allow for these moments. Galleries exhibitions - solo or group - are important and stimulating for both customers and artists. In art fairs, we showcase the artists we represent. Some fairs no longer exist, for others, it is sometimes the quality that is not there. Fairs sometimes accept all submissions for monetary reasons.


You said in a previous interview, ‘Participating in an art fair is important. But we have to be selective, as some of them are not good or the audience is not the right one for contemporary jewellery.’ What do you expect from a good art fair?
When I take part in an art fair, I now check to see which other galleries are participating, whatever their fields. It’s obvious that for Frame, it’s something else, as dedicated to contemporary jewelry.
A good fair attracts a varied clientele, including collectors, curators and enthusiastic buyers because of the quality offered, people I am expecting to meet. These days, I am only taking part in Frame and NYCJW.


Galerie Noel Guyomarc'h at Frame 2024. 



Is it at an art fair where the gallery makes more profit? Are logistics, personal and financial investment worth it?
Attending fairs is very expensive and very exhausting.
Make a profit, yes, a lot? No.
But there are always more shares and sales in a very short period of time. It's stimulating and dynamic. Often it is a knowledgeable clientele.  Selling their works created by the artists often for the event is encouraging for both parties. It is very exhausting and requires a lot of work up front and afterwards.


In today's context, virtual space serves as a place of exhibition and communication. Does being virtually present on social media and updating the website regularly increase the fact that people are more open to discovering a piece virtually?
For the gallery, the site or social media serve as showcases for the works. But sales rarely materialize that way, unless the clientele knows the artist's work. In general, people contact me to talk about the work and ask for additional information. More visuals, different viewing angles and of course, a photo of the work on the body.


Is there a difference between the American and the European market?
The American market is more spontaneous. And ready to buy if they like the work. I do not know the European market well. Some European collectors are buying at the gallery, they seem to take more time to think about their purchase.


In 2023, you received the Prix Charles-Biddle. Do you feel support from Canada for galleries?
This award recognizes my work as supporting the cultural Quebec scene with my activities on national and international level – promotion, diffusion, support, workshops, exhibitions. Indeed, the governments of Quebec and Canada support artists and galleries quite well. For private galleries, like mine, it is mainly for exhibitions of local artists, and for participation in fairs.
You never know if you will receive it or not. Complicated and demanding forms must be completed for each project.


How do you value the experience of putting on sale pieces at Klimt02?
It's always positive to give additional visibility to works and to mention the price. For the moment, there is no impact but it is a good initiative. 


Do you have any future projects that you are currently involved in and can share with us?
This fall I am presenting an exhibition bringing together 6 artists – I submit the project to Eija Mustonen and Helena Lehtinen to each invite two artists of their choice, a project outside their Hibernate collective. Curious to know who!!
Then New York City Jewelry Week in November.
For several months, I have been on the board of directors of Art Jewelry Forum. It's very demanding but stimulating.