Emily Crozier in Conversation with SEAM Agency Founder, India Dickinson
The recent announcement of the easing of COVID-19 lockdown restrictions brings a time of reflection. The pandemic has changed our world forever, forcing many to adapt and, in some cases, allowed creative ambitions to blossom. Both can be said for India Dickinson. During the second lockdown she founded SEAM Agency - a new artist agency supporting emerging artists and makers. While some trends of the past year may have been fleeting, SEAM Agency embodies many of the positive trends that are here to stay.
In this interview, MADE IN BED’s Editor-in-Chief, Emily Crozier, sits down to talk with India about her career journey that led her to start SEAM Agency, the importance of continuing to patron emerging artists and the artworld’s new favoured social media platform.
India Dickinson.
Emily Crozier: I understand you have a wealth of experience in different areas of the art world. Could you please tell us a bit about your background and specifically what lead you to start SEAM Agency?
India Dickinson: I started organising pop-up exhibitions while I was doing my Bachelor’s degree in History of Art at Goldsmiths. A lot of my friends were artists and it happened quite naturally. I then set up India Dickinson gallery in 2014 which was similarly an artist agency and held pop-up exhibitions. I did this for six years, with time in between working at contemporary galleries in London, New York and studying at Sotheby’s Institute of Art, London. I felt the work I was doing was drifting too much into an art gallery setting and I wanted to refocus and relaunch a new artist agency. [Being able to] move away from monthly exhibitions and focus on projects outside of the gallery whilst still working with emerging artists led to the creation of SEAM.
India Dickinson with SEAM Agency Partners, Silvy Pilkington and Rufus Besterman.
EC: I love the artists SEAM Agency represents. What does the process of discovering and selecting these artists look like?
ID: Thank you! I mainly scout artists from degree shows all over the UK. It has been so sad that these couldn’t take place in person this year. We also do take artist submissions and recently have found a lot of artist through Instagram, which has been one of the only ways to explore new work at the moment. We also go to a lot of exhibitions and artist led projects which I can’t wait to once again see in real life.
Qian Jiang, Gymnopédies 07, Edition: 5+2AP Giclee & Fine Art Printing,
Print Size: 21 x 29.7cm, Image Size: 9.3 x 14cm.
EC: In 2020 it was reported by Hiscox that buyers were increasingly motivated by wanting to support artists, rather than buying for personal satisfaction or for investment. As this is in line with SEAM Agency’s mission, could you please comment on this trend?
ID: I think buying from emerging artist is a great way not only for new collectors to engage with the art market and follow an artist from the beginning of their career, but also for established collectors to buy more affordable works and be more adventurous with their purchasing. At SEAM, we really want to rebuild this relationship between artist and collector, breaking down these barriers and encouraging a more traditional patronage that used to be so prevalent. Especially during lockdown with no galleries being able to open, the only way we can help support the emerging artists is by buying their work and engaging with it. If we don’t support them now there will be no artists of the future.
Rashmi Bidsaria with one of her textiles from the Kaarigari Series.
EC: I really enjoyed reading the Isolation Interview series as it provided another great way to break down the barrier you mention. How have you found this isolation period has affected your work?
ID: Thank you! The isolation interviews have been such a great way for us to see what our artists are up to in the studio without being able to go in person. I work in an office by myself in Camberwell so not much has changed in my day to day. But I definitely miss meeting all the artists and clients, organising studio visits and seeing art in person!
Jessica Jane Charleston, Blushing Bride Pink Sky, Oil on paper, 42 x 59.5cm.
EC: Will you continue to represent these emerging artists as their careers transpire or is SEAM Agency more focused on simply providing them with a platform from which their careers can be launched?
ID: A bit of both. It really varies from artist to artist. I think the way artists want to be represented by galleries is changing. Some artists love the independence of having an agent and not being signed to a gallery. I think having someone on your side, with your best interests at heart, is really reassuring when leaping forward in their careers. A few artists that we represent I have worked with for many years and will continue to [work with] as they grow. But we can act as a launching pad for emerging artists, giving them support and advice early on.
Jack Penny, Lounging Back Room, Oil on board, 122 x 96cm.
EC: SEAM Agency not only has a web presence but also an Instagram account. What with the recent shuffle in the ranking of top sales channels, how has the recent placement of social media (as the third most successful sales channel for galleries) affected your business approaches?
ID: Instagram has been a great tool for us so far and I think it softens the barrier [between artist and collector] and invites people to ask about prices of works or more information on the artist in a causal way. I think ‘price on request’ or asking a client to call is more daunting than commenting on a post or [sending] a DM [on Instagram] has made galleries more approachable.
EC: Do you think there will be as much importance placed on the online art market as we ease out of lockdown?
ID: I think people will be desperate to see art in real life, maybe after the pubs and restaurants, but I think lockdown has given people the confidence to buy online and discover new artists that they normally wouldn’t have found.
Miranda Forrester in her studio.