During the Corona crisis a lot of people work from their home. Since they are not in the office and cannot enjoy the artworks in their working environment, one of my clients asked me to write a short story about the works of one of the artists from their collection. This week: Inez de Brauw.
As an art advisor I scout on many different places to find the best artists for the collection of my clients. The Open Studios of The Rijksakademie is one of them. In 2016 I discovered the work by Inez de Brauw (1989) and bought this great triptych of 180×405 cm.
Last week I called Inez and asked her about the meaning of being admitted to The Rijksakademie and the importance of an acquisition of a corporate collection. During our conversation we also discussed the consequences of the Corona crisis to her work.
Being admitted to The Rijksakademie is something very special to an artist. Only a few (25 world wide, half of them Dutch) of the hundreds of applications are selected to this two year residency.
From the Rijksakademie website: The Rijksakademie van beeldende kunsten in Amsterdam focuses on developing talent in the fine arts. We select and facilitate top talent and offer selected artists a platform for further development of their work. Presentation of the work and connections to an international network form a part of the two-year residency program. For many alumni the residency has led to their international breakthrough.
Inez emphasized the fact that she was able to experiment with all different techniques and materials, that she was connected to a broad international network and surrounded by experts on all different areas, as the main accelerators in her career. She got access to the international art world. Every year more than 8000 art lovers and all the key players like gallery owners, collectors and curators visit the open studios to see the work of the artists. Inez appointed that even today, 3 years later, The Rijksakademie still feels like a family she can rely on.
Another confidence boost was the acquisition of her work by a main corporate collection. This means more visibility, top quality presentation next to other wel established artists and a quality mark for your work. It happens quite often that a collection will follow your work and buy other pieces in the future and it sure can help persuade other buyers to do the same. An acquisition is very important for an artist, not just in euros, but in a lot more.
Eventually we asked Inez how she felt about the Corona crisis for her work as an artist. Like for the most of us, this is a harsh time for her. She cannot find the inspiration nor the peace and space in her head to focus on her work. An artist needs space to find subtlety and reflection. That is hard when the world is on fire. On the short-term, Inez is happy to have enough assignments to get through. She is very aware that this does not count for most of her colleague artists and she is uncertain about what the future will bring. This crisis will hit the artworld hard. Like it happened after 2008, maybe even worse.