In conversation with Doyle Wham

“Our vision is a fundamentally collaborative one, encompassing non-traditional gallery spaces and simultaneously aiming to make new and younger collectors feel welcome.”

- Sofia & Imme

Image: Sofia and Imme

Sofia Carreira-Wham and Imme Dattenberg-Doyle are friends, Londoners, and co-founders of Doyle Wham, the UK's first and only contemporary African photography gallery.

Sofia is a Curator, Writer and Archivist who has worked at some of London’s top art institutions. Imme is the Managing Director of the Right for Education Foundation, and previously founded the successful photography blog, Afrikan Gallery, with over a million followers to date.

Starting a gallery together was regular a topic of conversation since they were at secondary school. After a decade of conversations, they finally took the plunge in 2020.

What was the inspiration behind Doyle Wham?

Imme: The inspiration behind Doyle Wham definitely came from the artists. Through previous projects relating to contemporary African photography, and more broadly through social media, we were both in contact with and aware of many talented young photographers. Many of whom had limited opportunities to exhibit or show their work internationally.

We decided to start Doyle Wham to focus not only on physical exhibitions in our hometown, London, but to create a digital platform that would enable more artists to access the global art market. Our vision is a fundamentally collaborative one, encompassing non-traditional gallery spaces and simultaneously aiming to make new and younger collectors feel welcome.

How did you take Doyle Wham from an idea to reality? What initial steps did you take?

Sofia: The impetus to start the gallery at the exact moment that we did was the success of an online exhibition that we organised in the summer of 2020 to benefit two charities that we respectively work with: Right for Education and Mobile Art School Kenya (MASK). This was such a positive experience for both us and the artists, that we decided to launch Doyle Wham the following month. The idea was, however, a long-standing one, which we had regularly discussed over the last decade since leaving secondary school (where we met).

In practical terms, this meant developing a website that could host exhibitions and function as an e-commerce platform, and most importantly, approaching the artists we wanted to work with. We held our first exhibition, PORTR-8: 8 New Faces in Contemporary Portraiture at ECAD in Peckham in October 2020. Since this we have hosted a further six solo and group shows, with many more in development.

Imme: We made unique and cohesive design a priority from day one. From creating our own font, to producing branded tote bags, collectible posters, notebooks and stickers, we are continuing to explore exciting brand-building possibilities that compliment our core business of art sales.

What does an average working day look like?

Imme: For now, we’re both still self-employed and working freelance alongside running the gallery, so each day is incredibly varied. It also depends on where we’re at in the exhibition cycle - the weeks before and after launching an exhibition are particularly hectic, with specific tasks needing completion every day and sometimes even every hour, whereas the research and development stages are pretty free-flowing.

Depending on the day, we are most likely to be communicating with our artists and other collaborators, printing and delivering works to clients, conducting audience outreach through social media and press campaigns, and then either planning and designing exhibitions, or mounting, framing and installing artworks when a physical show is imminent.

Sofia: When working in a larger arts organisation the responsibilities are carefully divided between departments (curatorial, press, technical, artist liaison, etc.). Instead, we have the pleasure of being involved across the board. As we both previously focused on a single element of exhibition production or gallery operations in our previous jobs, we see this as a real perk. Having said that, one of us has a penchant for words and the other for design, so a division of labour, when needed, feels natural. 

What do you love about the art industry?

Sofia: As art-lovers, it’s a privilege to have been able to turn a hobby and pastime into a career. Your life and work become incredibly intertwined in the art industry, particularly in the busy, international, contemporary scene.

It’s clear, however, that the industry has a long way to go in terms of equality, representation and transparency. While there are important movements underway to expose and reform these darker sides of the art world, it is sad how familiar the shocking stories shared on Instagram platforms such as @cancelartgalleries and @changethemuseum sound to most arts-employees.

Imme: In the last few years, it has been both encouraging and inspirational to see the number of young, often female, art-entrepreneurs who are choosing to start businesses that prioritise transparency, inclusivity, and reaching new audiences. This movement is definitely tied to the development and disruptive possibilities of new technologies and social media, that are challenging the traditionally elitist frameworks of dealers, artists and collectors. 

Sofia: Overall, we’re optimistic and looking forward to seeing how the industry evolves over the next few decades - and hopefully continuing to be a part of it.

Who are some artists that inspire you?

Imme: This was probably the hardest question for us as there’s an ever-expanding list!

One of the most inspirational developments in recent years has been the proliferation of artist-led residencies and creative spaces on the African continent, spearheaded by internationally renowned contemporary artists of African descent. To name a few, Yinka Shonibare’s G.A.S. Foundation, Michael Armitage’s Nairobi Contemporary Art Institute, Kehinde Wiley’s Black Rock Senegal, and Ibrahim Mahama’s Savannah Centre for Contemporary Art in Tamale, Ghana.

It has also been an honour to be able to exhibit and work directly with artists who inspire us and whose work we had previously only admired online, such as Gabonese photographer Yannis Davy Guibinga, whose work has recently become ubiquitous through his ambassadorships with Adobe and Squarespace.

Finally, British artist Matthew Burrows’ transformative Artist Support Pledge movement has been a wonderful way to discover, collect and support countless artists throughout the pandemic. Primarily taking place on Instagram, artists offer works for a maximum of £200, with the understanding that they will buy another’s artwork once they make £1000. The hashtag has accumulated over 550,000 posts and is continuing to thrive. At the end of the day, art is very personal for both artists and collectors, and the ASP has helped to bridge the gap in this time of social isolation.

What are your thoughts on the gallery scene in London at the moment? Are there any other galleries that you love and think we need to know about?

Imme: We have always loved how social London’s art scene feels. From dropping into opening evenings to our weekly gallery-crawls on Saturday mornings, there is always something to take part in. As galleries tend to establish themselves in geographical clusters across London, it’s a great structure through which to explore new areas in the city we call home. Also, unlike museum shows, commercial gallery exhibitions and their related events are always free, making this a sustainable hobby!

In terms of specific galleries to visit, we would definitely recommend HOME, a new creative space in North London established by Ronan McKenzie. In addition to physical and digital exhibitions, HOME offers a broad programme of community-focused events, as well as a library and workspaces.

If you’re looking for art by emerging artists then we would also suggest checking out Bowes-Parris Gallery, founded by Cassandra Bowes. She works primarily with graduates from London art schools, and always has a fun array of colourful, collectible paintings!

If you’re interested in discovering artists before they even reach the stage of gallery representation, then it’s worth keeping abreast of the exhibitions put on by the art schools directly. Each one hosts multiple shows a year, and they are a fantastic way to gain an insight into current trends while supporting young artists.

Do you have any tips for aspiring gallerists?

Sofia: Our main recommendation would be to just take the plunge in some form or other. If you let go of the ingrained expectations of what a gallery space should be, you can create and curate truly exciting opportunities to connect artists and audiences. 

You don’t have to start with an investment in a traditional brick & mortar gallery space. It can be as simple as choosing a name and starting to build an audience online. That has certainly been our approach, as two young professionals working in the arts and charity sectors without access to external funding or significant personal savings. On a purely practical note - remember to consider SEO and search-ability when selecting a name!

We would also recommend clearly outlining who you are as a gallerist. What will you bring to the market? Which artists do you believe in and why? If you’re convinced, you’ll convince others.

How have you had to adjust your business due to COVID-19?

Sofia: The pandemic, perhaps perversely, became the impetus for us to launch our business, and while it’s a challenging time in many ways for both artists and arts organisations, we have tried to embrace the unavoidable sense of flux.

There are a number of advantages for a young gallery starting out now, from reduced rent in major cities, to the digitisation of international events. The latter in particular has had a powerful democratising force, enabling new and geographically diverse businesses to take part in art fairs and festivals without physically attending.

We have, however, had to be especially adaptable this year, as we have so far spent it living on separate continents and working in different time zones as a result of the harsher than expected post-Christmas lockdowns and flight bans. Several projects have had to be postponed, and one of us actually came down with the virus during the launch week of our latest digital exhibition - which added an extra layer of last-minute intensity. As co-founders and equal partners, however, we’re able to pick up the slack when the other is out of action, and our ten year-long friendship has proved an excellent basis for intuitive co-working.

What’s next for Doyle Wham?

Imme: We’re interested in pursuing a hybrid model, not just in terms of putting on both digital and physical exhibitions, but also in terms of varying our physical presentations to encompass non-traditional gallery spaces such as cafes and restaurants. We firmly believe that art enlivens any space, and would like to continue collaborating with other organisations, from cafes and shops to offices, to display and promote the work of our fantastic photographers.

We do not intend to limit these collaborations to London or the UK, and we are excited to build on existing and develop new relationships with Africa-based institutions. We’re also very much looking forward to participating in our first in-person art fairs and group events, hopefully later this year.

And finally, what does International Women’s Day mean to you?

Sofia: IWD feels like it has come at a poignant time for us, as we are in the middle of a three-part, six-month, series of solo exhibitions dedicated to female artists.

The current exhibition, Heaven on Earth, a solo retrospective of Puleng Mongale, explores the role of women in the artist’s own life and the representation (and, crucially, self-representation) of Black women in the media. Simultaneously, we have found ourselves reflecting this week on the pleasure of working in an all-female team for our collaborative project with the Johannesburg-based art platform Latitudes. This came about coincidentally but feels both marked and welcome.

Website: doylewham.com

Instagram: @doylewham