A clear genre of work

Nettie Burnett has had countless shows in galleries in Portugal, the UK and elsewhere. (I asked her how many and she told me she'd lost count). She works on a large scale, making drawings that are both delicate and powerful. Many of these drawings show mature trees often seen from low down or directly beneath so the viewer is awed and at the same time drawn up into the detail. Nettie also works in sculpture and artists’ books.

A friend introduced us to Nettie before we moved from the UK; she was one of the first artists in Portugal who we had a connection with. 

Lawrence: When and where did you first show your artwork in Portugal?

Nettie: I first showed work at Cooperativa Árvore in 2001. It was a shared show with Bartolomeu dos Santos who at the time was head of Printmaking at Central St Martins. (I sold most of my work at that show – doesn’t happen so much nowadays, more’s the pity!)

L: Roughly how many different galleries have you shown at since the start of your career?

N: Are you asking specifically about solo shows…? I’ve lost count but can have a rummage as far back as Young Contemporaries in 1976….? I think it’s now called New Contemporaries.

L: How does one meet gallery owners and curators in Portugal?

N: Well … that’s a good one. I’ve been lucky enough to be invited to all of my solo shows including the shows at Cooperativa Árvore, Galeria São Mamede (Lisbon and Porto), Lugar do Desenho, as well as the mixed shows I’ve been part of.

L: In Portugal, how do artists get shows in galleries or museums?

N: My history here in Portugal is that after my show at Cooperativa Árvore I was invited to teach at ESA do Porto (Escola Superior de Belas-Artes do Porto) which is now closed. Through the same show at Cooperativa Árvore I got to know several gallery owners. Cooperativa Árvore was, and maybe still is, a good spring board. Because I had a clear genre of work (drawing), I was able to create a niche. All this was unintentional on my part. 

How do other artists get shows? Painters are by far and away the biggest part of the market. Sculptors have a tough time. And drawing is a bit too quirky for most people (except architects). 

L: Are you still interested in shows in galleries?

N: Since the beginning of the pandemic I have, for the first time, had an open studio where anyone passing by can come in, browse, comment and buy. This has resulted in some wonderfully enlightening dialogues, some interesting exchanges, both verbal and physical, where clients have brought me various bits of detritus that they assume I will want to work with. Above all,  there’s been an overwhelmingly rich dialogue of political ideas that embrace environmental and social issues of every kind.

To be able to see the work, to physically touch it, to be able to question the artist about the work informally without the stiffness and coldness that a gallery or museum space naturally houses for me, all this has been a real learning curve and hoje em dia I am no longer seeking out the Big Important Gallery or Big Important Museum where I can exhibit.

If Serralves (Porto) or Thaddeus Ropac (London) asked me to put on a show, however, I would do so with pleasure.

L: How are art galleries in Portugal funded and sustained?

N: Most galleries are privately owned and most museums are funded by the local councils or boroughs in which they are situated.

L: Thanks so much for sharing your ideas and your experience Nettie.