Kate Fensterstock in Conversation with Founder and CEO of Artistic Statements, Zoë Allen
Artistic Statements takes art advisory to an entirely different creative realm by identifying a new level of innovation in design, pushing the limits of visual expression, and building impactful communication with an audience.
Through crafting, planning, and rendering awe-inspiring art installations, Founder and CEO Zoë Allen fuses the individual contributions of both artist and client, whilst simultaneously visualising the potential of a space and the experience within before managing the execution with professionalism and poise.
Having recently identified an exciting new way to recognise the artistic opportunities available for a passionate public to learn from and enjoy, MADE IN BED recently sat down with Zoë to discuss the inspiration, challenges, and future endeavours behind Artistic Statements.
Kate Fensterstock: How did you discover your creative urge and how was it nurtured as you grew up?
Zoë Allen: I’ve always been very arty. It’s been a hobby and passion since I was tiny and as my Mum is an artist and interior designer, I’ve always been surrounded by creativity. Whether it was painting, photography, fashion, fabrics or furniture, my creative spirit was constantly encouraged at home and provided me with the tools and support to grow my own style.
DNA Helix at the Cambridge Graduate Hotel.
KF: You worked at art and design consultancy Acrylicize for seven years, eventually managing all of their new business initiatives. What inspired you to set up your own after that experience?
ZA: First and foremost, my passion for public art and finding exciting new projects to help creatives showcase their work is what drives me. Ultimately this is at the centre of my professional goals. At Acrylicize, I gained valuable experience in identifying potential areas for business which would open these doors. I also developed the skills in building excellent client relationships and finessing a little black book of contacts that would facilitate this business opportunity. It was the sales and business development mindset that Acrylicize equipped me with that allowed me to successfully provide these crucial spaces for artists and realise my true ambition.
Andy Welland, Import/Export. Import Building, Republic.
KF: What prepared you most for taking on your own business?
ZA: I found the structure of the business I previously worked for was crucial for preparing me well. In my experience, when working for a start-up you have the freedom to make your own decisions and learn from every success as well as the mistakes. The budget is often quite tight, which means that not a penny can be wasted and every deal is crucial to the cash flow and bottom line. Demanding times tend to toughen you up. A smooth sea never made a skilled sailor, so I’ve got a pretty thick skin professionally. At the same time, a smaller team gets things done fast and you have the benefit of seeing everything happen in real-time which equips you incredibly quickly. I was also trusted to interface with top-level clients and build my own rapport with them which made moving into my own business much more seamless in terms of establishing lucrative networks.
Tash Randolph, We Stand Together, 2020. Spanish Steps, Wembley Park.
KF: To what extent did your sales role equip you for what you do now and how does art knowledge fit in?
ZA: My sales background has been a huge part of my professional progress. As a Business Development Director at my last company, learning how to find and nurture new relationships is paramount to what I do and that extends to the artists and suppliers I work with–not just the clients. Art knowledge is so subjective and I enjoy that. The value and prestige of the projects I work on come down to creative innovation, technical ingenuity, and the ability to stretch a budget. I have notable success in effectively delivering large-scale art projects, just don’t quiz me on my art history! I’m proud of how I fit into the advisory market. I feel I deliver something a little different that complements the work of collection management and private acquisitions.
Alex Fowkes and Adam Nathaniel Furman, Mayfair & Belgravia Thank You Flags, 2020.
KF: Regarding the balance between sales and art knowledge, can you explain your contribution to the client-artist relationship and what you find makes a perfect balance?
ZA: Although I love to support the initial inspiration and concept design, my core contribution is in managing the project process and the relationship between client and artist. I try to keep everyone involved aligned in their objectives, but it’s a delicate balance between artistic vision and client constraints. Sometimes it’s a battle, but the creatives I work with have to learn to adapt to the parameters in place if their artwork is to be installed in a public setting. Keeping all parties happy is a challenge, but I enjoy team dynamics and when the artworks go in it’s incredibly rewarding for everyone. More often than not, it’s recognised that we have all created something completely different in the public sphere. It’s the team effort that got us there.
KF: What are the biggest challenges in your job?
ZA: Managing people, timelines, and budgets can get complicated and has the potential to force compromise on someone’s vision. It’s not what is desired but it must be confronted. Additionally, the bespoke nature of the installations I work on means the projects have never been done before, so there’s no guidebook as to what will work and what will not. Finding the balance between taking risks, achieving creative impact, going slowly and carefully without losing valuable time, and ensuring everyone’s safety is often tricky to achieve!
Benjamin Watts, Symbols of Unity. Wembley Stadium.
KF: What are the greatest rewards?
ZA: My core passion is to provide a platform and creative outlet for talented artists and engineers. When I identify this opportunity alongside an enthusiastic client, I feel most rewarded. Additionally, stepping back after months or even years of work to enjoy something I have helped create and now can share with a passionate audience is a wonderful feeling. I feel I have helped to make the world a little more beautiful.
Laxmi Hussain, Landscapes of Women, 2022. Photography by Liz Seabrook.
KF: Where do you find inspiration for what you do?
ZA: I am constantly engaging in my surroundings, seeing art, attending events, and meeting new people to find inspiration. Instagram is an obvious tool but mostly being out and about and all over London every day is the best blank canvas. The city is an ever-changing landscape with an infinite amount of creativity and opportunity to tap into and engage with. I’m also passionate about food, fashion, interiors, music, and travel. I think an active lifestyle ignites the urge to create and contribute to your surroundings.
Tash Randolph, We Stand Together, 2020. Spanish Steps, Wembley Park.
KF: What type of skills do you find are a must for what you do?
ZA: Adaptability. Positivity. Understanding people and place. The first step is recognising an opportunity and the second is having the skills to see it through to fruition.
Andy Welland, Import/Export. Import Building, Republic.
KF: Can you describe the average day in your working week?
ZA: I might be kitted out in full PPE on a building site first thing seeing a new space or building, then off to Soho House to work for a few hours before heading to lunch with a client. In the afternoon, I might be reviewing artist proposals or on Zoom calls, either pitching to new businesses or having project check-ins with the various operational teams. I’m often juggling multiple projects so careful organisation is key to balancing the spinning plates!
Melissa Rumney’s Immersive Christmas “Rain Tunnel” at Box Park.
KF: What do you see in the future of what you do? Will people keep being challenged and motivated to make and consume art in new ways? How do you want to be a part of that experience?
ZA: The future of my work fascinates me. We still have a long way to go but it’s amazing to see artists being represented from all aspects of society. Artists are emerging from far more diverse socioeconomic and cultural backgrounds and the LGBTQ community is finally having their voices heard in the mainstream. This will transform the art world and creative sector in hugely positive ways, and I feel a duty and obligation to find and work with artists that are from less represented groups. It’s an exciting prospect to dream about where the making and consumption of art will be headed with a greater range of artists contributing from different perspectives. The future is bright and very, very colourful–I have no doubt.
All images courtesy of Artistic Statements.
Thanks to Zoë Allen on behalf of MADE IN BED.
Kate Fensterstock
Contributing Writer, MADE IN BED