the email that actually got a response, what was yours?
I spent years emailing galleries the way you're supposed to, brief, professional, a link to my work, a polite request to be considered. Got nowhere. Then I tried something different: I sent one gallery director a handwritten letter on good paper, with a small original study tucked inside, a lily I'd painted from their city's botanical garden. She called me the same week.
I'm not sure I'd recommend that approach to everyone, and it probably only worked because my work is small and botanical and the gesture fit. But it made me wonder what actually cuts through. What's the one email, or approach, that actually got you a reply?
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That's such a good story. I think the reason it worked is because it showed you cared about their city and their gallery, not just getting your work out anywhere. Anyone can copy-paste an email. Sending a lily from their own botanical garden is specific and personal.
I've never done anything that bold. The one time I got a response that led somewhere was when I went to a small local gallery's open call with a physical portfolio in hand instead of emailing. I think the director just liked that I'd actually come in and looked at the space. The work I brought was landscapes of the area too, so it was a natural fit.
It makes me wonder how much of it is just making a real human connection, however you manage it. Would love to hear if you ended up showing with her!
You're quite right, and I think your approach is the more sensible one. Showing up with a portfolio that speaks to the place, that's the same principle, isn't it? You demonstrated that you'd paid attention to who they were and what they showed, rather than sending the same submission to fifty galleries and hoping.
I suspect directors can tell the difference between ambition and genuine attention. Your landscapes of the area would have done more work than any polished cover letter could.