Bryan Ohno, owner of the Bryan Ohno Gallery downtown, is a sharp, thought out fellow who talks about art in a way that includes something very Seattle: the idea that the city’s creativity is in fact what bolsters its people just about as much as food and water. We had the luxury of chatting with Bryan about his talks with artists, his goals and his gallery. Enjoy!

Jake Uitti: What are the things people need to know about your gallery and galleries in general?

Bryan Ohno: I actually have thought about this a lot. I think each gallery, in its own way, works to create a valuable experience for the visitor. Art galleries provide the opportunity for people to slow down and truly experience art. We keep the space simple, clean and well lit in order to foster quiet reflection or conversation. When we do our job well, the gallery becomes a gathering place for artists, art enthusiasts and art collectors to celebrate new ideas in an atmosphere that inspires creative perspectives.

At my gallery, I strive to feature art that blurs the line between art and science, challenges the art traditions and embraces the evolving cultural intersections. This is my mission statement. I used to think mission statements were corny, but I have found that having one helps provide structure to what I am trying to accomplish in the gallery. Contemporary society heavily emphasizes science over the arts and humanities, but science is only one way of understanding and interpreting the world. Art provides a complementary perspective that is frequently overlooked. I want to re-emphasize the relationship between these fields and the importance of art in social progress.

JU: You hold salon discussions with artists Tuesdays through Thursdays from 3:30 – 5pm – how did this start? What are some meaningful moments that came from this?

BO: The salon discussions started serendipitously. Artists typically show up to the gallery around the late afternoon. By this time, I can usually no longer focus on the computer and administrative details, so it is a good time for social engagements.

Artists are my clients, so I take my relationship with them very seriously. I will never tell an artist what to make next, but I hope that our conversations provide a positive space for artists to work through their problems and concerns. Just the other day, I was talking with a figurative painter who works during the day as a digital designer for an ad agency. The ad agency wanted her to begin working full-time, but she only wanted to work three days a week. I think this is a common struggle for artists who juggle creativity and making a living. Recently, I have been researching many of the great artists to understand how their daily habits influence their ability to maintain creativity. One thing I noticed is that many get up at dawn to create art while others are still sleeping. They say that the uninterrupted moments in the morning are the most precious. When I shared this story, I think it resonated with the painter and helped her work through her dilemma.

JU: You visit artist studios regularly – in fact today you’re out visiting the sculpture James Lee Hanson. It seems as if you have a pretty tight schedule with how you conduct your business. How long did it take you to feel comfortable with your routine – what sort of trial and error was involved?

BO: The way I conduct business has evolved over time. At my first gallery in Tokyo, C2 Gallery (1989-1991), we mainly bought work from New York art dealers, so there was no direct artist relationship until we started to represent Dale Chihuly. However, at my second gallery, Bryan Ohno Gallery in Pioneer Square (1996-2005) I was all over the place. I used to be open and available at all times, in order to inspire spontaneity. That however didn’t really work well. The lack of routine actually minimized my ability to meet artists. Now at my gallery, it is easier to schedule things because artists know that Mondays are the day I make studio visits. Since reopening in 2013, I am starting to get into a rhythm.

I’ve always been curious about my predecessors and colleagues and how they conduct their business. D.H. Kahnweiler who was Picasso’s art dealer in Paris used to visit artists on a regular basis. Kahnweiler’s relationship with artists was about more than selling and exhibiting art. They constantly discussed new ideas, philosophies and politics that inspired and challenged each other. I aspire to having that kind of partnership with the artists I represent.

JU: In what areas could Seattle improve as a home for artists?

BO: Seattle is already a great place to make a home as an artist. We have all the necessary arts infrastructure—it is a city full of visual arts, music, theater, opera and many other experimental activities. The ingredients are all in place, and because there is no defining authority, new voices have the opportunity to surface.

Since the 80s, I have seen a few cycles of economic recessions and growth. I find that it is during periods of recessions and recovery that the exciting art happens. It is scary to be active in the arts now, but it is a chance to be seen and heard while others are still dormant. The artists lead, the art professionals (museums, critics, dealers) encourage and the collectors embrace. When all the three entities develop this symbiotic relationship towards a new vision, art thrives.

Any art movement needs a group of passionate individuals for it to be successful. Seattle’s main area of economic growth is technology, so right now, I think it is important for us to focus on catching the attention of these newly prospering individuals, let’s call them the nerd-veau riche. As art professionals, we have not really been effective at connecting with this new generation. We need to find a way to connect with these individuals and get them excited about art.

JU: Where do you see yourself in terms of the Seattle art culture in the next five years?

BO: 2019 will be an interesting year because many organizations—corporate and nonprofit—will be examining their final progress/steps towards their 2020 goals. For that reason, I think this will be a time for celebration.

In five years, it would be really cool to have a Seattle artist who achieved national and maybe even global recognition. Seattle could be a home for artists and people could come to us.

Personally, though, I see myself maintaining focus, one day, one show and one season at a time.