Robert Diament

How has that evolved as the gallery's grown to try and get your artists in museum collections or in private collections where they might donate them to museums?

Because I imagine that's something you've had to negotiate and learn about as you've developed.

If you think about your day-to-day being a gallerist, it's a kind of job I've heard you describe, which I totally agree with, that you kind of learn about being a gallerist from doing it.

It's kind of something you just pick up along the way by experimenting.

You have failures, you have successes.

And also just by continuing, that's kind of how a gallerist will be in many ways.

There's no kind of

necessarily a school you can go to learn about it.

I know there are degree courses now and stuff, you know, on art business and all these things, but really being a gallerist and even just working with artists, if you think about artist liaison as a role, which is in the bigger galleries, but when you're a self-run gallerist, you're kind of every single part of the business.

What is your day to day like for people that have never done that job?

How would you explain a kind of average day for Marianne Ibrahim?

Yeah, totally.

It's very much a relationship of trust as well.

And I think what I really respect about the way that you've set up your business is that you've done it in a way that's very sustainable in terms of like you didn't just go and take a massive rent in New York.

You know what I mean?

You've always done it, not in a cautious way, but just in a sensible way, in a sense where you're creating a home that is still going to be there.

You know what I mean?

There's always these threats constantly for galleries.

And I think it's really interesting to try and find models a bit like Carl Friedman and I did in Margate.

By moving to Margate, we left London and our rents were lower.