Curating the creatives - hanging out at Chichester's Oxmarket Gallery

It’s usually just the four us ~ Doug, Mike, Maureen and me ~ we're artists too, which obviously helps. And it must be said, our team is just a small cog in the large wheel of volunteer groups and individuals who lead and pull together up-front and behind the scenes to make the exhibitions come to fruition.

There are two galleries, one small, one large in what was once an old church, so there are plenty of grand and colourful windows letting in beautiful light. It seems a shame to reduce it, but sometimes we have to put up panels partially covering the windows to create enough wall-space to place all the work that arrives. Each time, we either put the panels up or take them down depending on what the artist's choose and the number or type of works to be displayed. The atmosphere is great too, with a high vaulted ceiling creating spaciousness in the main gallery and a close-connected ‘hug’ of a feeling in the small one. The whole space for both galleries has a pureness of presence and a keen sense of history ~ not intimidating at all, just peaceful.

Every two weeks there are fresh group or individual exhibitions and solo shows, always with a wide variety of artists, media, sizes and weights of exhibit. Entries range from heavy sculptural pieces to be placed on plinths we carry or wheel out from the storage room, or framed and unframed pictures we hang singly or stacked from our wall-mounted track system. At the other extreme there may be feather-light textile work which we often drape decorously from architectural metal bracing bars that span the space. Lobbing fishing-line attached to a roll of masking tape up and over a bar to achieve this is always fun and getting everything securely tied on to hang safe, straight and level is quite a challenge.

We spend a lot of time up and down ladders taking good care to be safe ourselves and we look out for one another. True, I did do my back in rather badly last year hanging an exhibition but that wasn't at the Ox. My fault, I did too much over too long a period in a rush. It's easy to injure yourself if you're not mindful. And there is so much to be mindful of with all the senses in each moment if you want to produce a fine exhibition. The input is intense and distracting too but no excuse here. Hanging at the Ox is a feast for the senses ~ you just have to be mindful of them as best you can.

'Curating' sounds posh but it's mostly about problem solving and there are always plenty of problems to solve. For instance, the number of people who deliver pictures that don't have D rings on the back. Or the paint isn’t quite dry yet. Or there's no label to identify the title or artist on the work. Much guidance is given in advance about what and what not to do and most of the artists are professionals who regularly exhibit and therefore should know better, but still, it happens.

People.... well, what can I say? You meet some lovely and often quite anxious people and they're all different. It's a big deal to put yourself in front of the discerning public at an art exhibition and naturally, every artist wants the perfect spot to showcase their work. Not an easy task.

At the beginning of the day, when we're getting started it's often a mad scramble as the artists arrive and drop everything off. They usually deliver and leave soon after, allowing us to get on with it. Before they go, we say hello and have a chat to see if there are any specific requirements or concerns and sometimes a key person emerges who seems to have a plan. Fair enough. We need to identify that person and work with them, otherwise things can get a bit tricky. Also, there may be more than one of these people and that gets even more tricky! Tact and diplomacy have to be used carefully in this rather raw situation, otherwise misunderstandings can occur and this can cause unrest. To prevent this, we do our best!

Starting off it's a bit like Christmas morning unwrapping and placing lots of work around the walls and it can get quite crowded and chaotic. Then, as slowly, more and more people leave, a hush steadily enfolds our team into concentrating on the ‘real’ work at hand and much silent preparatory looking and searching of minds goes on. You have to hold your nerve and trust that all will be well. Fortunately, the four of us have developed a special understanding and we share an uncanny gift for working good-humouredly together reaching honest agreement about what's 'right'. Right is what looks and feels right. Subject-matter, colour, shape, size, artist, medium, symmetry, the list of factors is endless and they hardly ever get mentioned. Quietly, almost wordlessly and seamlessly we get busy. Nothing is perfect, but a sixth sense tells you if it's right and if it continues to look right over time and as you walk around eventually and if there's a problem that can't be resolved, well.... we consult with Doug for his professional view ~ he's the man!Also, you can always expect the unexpected, like bits of equipment that go missing and work that arrives late or struggling to find the right plinth or hanger for the job in the jumble of resources which are never quite where you hoped or remembered they would be.

Finally, when we're completing the setting up, it's amazing how much difference the slightest swap, twist or tweak to the position of a selected work will make to the overall impact of an exhibition. We're learning and getting better all the time and we share this experience intimately.

Nothing’s wrong, it just isn't quite right yet!

You know, the simple truth is, there could be a thousand different 'rights' to the way works are displayed and letting go of attachment to your own view helps to smooth the way towards a solution that leads to a genuine consensus. Let's face it, like a painting, curating is never really finished, it's just knowing when to stop. We even agree on this too! Not difficult. It's when you're exhausted with the effort and you can't think straight anymore!

In the end, after all the finessing, spacing, levelling, labelling and looking, as long as ~ to the best of our ability ~ the artist's and importantly, Jo the manager who is vital to the running of the gallery, are broadly content, and the private view goes well, this is a job well done ~ another pair of fine exhibitions to go on for another two weeks. It's quite a thing. Something for us to feel good about, knowing that together we've helped create a stunning event for all to enjoy.

The fortnights seem to whizz by faster and faster these days but I do look forward to each Monday that comes around. As I drive in from home, a sense of wonder, expectation and slight trepidation descends on me and the thought dawns, “What a privilege and responsibility it is to be quietly curating the creatives!”

And I know what you're thinking. Do the artists sell their work at these exhibitions? Well, yes, good question! That's another story!