SIGHTS
A welcoming and open-concept entrance showcasing a few signature pieces that will intrigue and encourage patrons to explore, a sparse reception desk with an artistic silk arrangement, business cards and a register on the desk, plain walls to ensure the focus is solely on the art, strategic lighting, room dividers that encourage patrons to wander, group collections (that fit a specific theme, style or artist), plain viewing benches or chairs facing a feature piece under spotlight, clean floors (often covered with thin carpet to muffle sound), tables with smaller pieces (such as blown glasswork, sculptures, or stone carvings), framed paintings and textured artwork with title cards (informing customers of the artist’s name and price), art patrons admiring pieces and checking price tags, open doorways to each room, lots of open space between pieces, few or no windows, high ceilings, the gallery owner or curator discussing pieces with potential buyers or looking through a new artist’s portfolio, an artist greeting guests during a showing
SOUNDS
People discussing the works in low voices, soft background music or themed sounds (running water, chimes, bells) that fit the mood of the gallery, the muffled clack or scuff of shoes crossing the floor, sounds echoing off the bare walls and high ceilings, people chatting in an entryway or near the reception area, a desk phone ringing, patrons telling an artist what they appreciate about her work, the soothing sound of a small fountain or water feature
SMELLS
Paint, disinfectant, wood polish, polyurethane, cedar, plaster, leather, aromatics brought in to create an olfactory experience for patrons (blends of sweet grass, sage, lavender, citruses, essential oils)
TASTES
None are associated with this setting unless a special showing or event is taking place. For these type gallery events, wine, sparkling water, imported beers and a selection of easy to eat, one-bite appetizers (a fine cheese selection, herb and citrus-crusted olives, marinated beef on skewers, etc.) may be offered.
TEXTURES AND SENSATIONS
As patrons are encouraged not to touch artwork, there are minimal opportunities to bring textures into a gallery description setting. During an event, people might hold wine glasses, pinching the stem or using palms to cup the glass, they may also feel the weight of a plate or napkin laden with simple appetizers to nibble on. Otherwise, think about textures associated with the character, such as touching a necklace while contemplating a piece or selecting a business card from a holder to remind oneself of an artist’s name.
POSSIBLE SOURCES OF CONFLICT
Accidentally bumping into an art piece and damaging it
An earthquake or burst pipe ruining someone’s art piece
A bidding war over a particular piece
Being present as a patron criticizes one’s own artwork
Approaching the gallery owner for representation and being shot down
Wanting to approach a gallery owner to become a featured artist but having a personal conflict with one of the employees
Having a low turnout for one’s art show
A gallery owner who is passing off frauds as authentic pieces
Receiving poor reviews from an art critic
Being accused of copying a famous artist due to the similarities in one’s own work
PEOPLE COMMONLY FOUND HERE
Art patrons and customers, artists, framers and delivery people, gallery employees and owners
RELATED SETTINGS THAT MAY TIE IN WITH THIS ONE
Art studio, black-tie event, museum
SETTING NOTES AND TIPS
There are many different types of galleries. Some are cooperatives, run by the artists themselves, while others are owned and operated by fine art and design businesses. Depending on the type and finances of the gallery, the space may be small and sparse with poor lighting, or it could be larger, well lit, and designed to attract an elite clientele. Many also do in-house framing; in this case, there will be a workroom and storage area attached with framing materials, and customers coming in specifically to have pieces framed rather than buying new ones.
SETTING DESCRIPTION EXAMPLE
Red wandered along the freestanding walls that guided guests from area to area, sipping from a flute of champagne. He stopped at each lit display but found he enjoyed the oddest pieces the most, especially ones where metal and wire were the medium. As soon as the thought occurred to him, he chuckled. Could it be? Was he was starting to collect some culture on these outings of his? The upscale crowd attending the showing flowed around him, filling the air with expensive perfumes. Flaunting sequined designer handbags and expensive shoes, they ooh-ed and ahh-ed over several chunky textured paintings that, to his uneducated eye, appeared to be made from vomit. Not that it mattered. Red was really only an expert in one type of art and so he did what he did best: worked the crowd. A smile, a word, the touch of a wrist . . . his pockets grew heavier by two wallets, a Rolex, and a pearl bracelet.
Techniques and Devices Used: Multisensory descriptions
Resulting Effects: Characterization