Spotlight Q and A with Sylvain Gaillard (939 Words 5 min. Read )
1 – How do you define Opera Gallery Dubai’s identity within the global Opera Gallery network?
What makes Opera Gallery such a unique network is the fact that we are “all the same, but different.” While the core values remain consistent across all locations, each gallery tailors its offering and curatorial program to its specific context and collector base.
Dubai, in particular, is a fantastic place to curate because of the city’s, and the region’s, intricacies. What we present is a reflection of the UAE’s sheer diversity and its dynamic collector community. While there are regional preferences in terms of artworks and mediums, they are far more subtle than people might expect and by no means a hindrance to curatorial choices.
In practice, what differentiates the galleries within the network often comes down to the balance between “masters” and “non-masters” works. While we never diverge drastically from this equilibrium, the Dubai gallery sets itself apart through the selection within these categories, leaning slightly towards a more playful and contemporary palette.
2 – What initially drew you to the art world, and what keeps you passionate about it, and is it difficult to balance commercial goals with curatorial integrity?
I’ve always been a visual person, my mind is triggered by objects I find beautiful. Collecting began when I was very young; I would become obsessed with certain objects and feel the need to “have them all.” As I grew into my teenage years, my focus shifted more towards art, architecture, and timepieces. Art, in particular, always remained a priority in my travels and in the people I chose to surround myself with. Nothing specific drew me into the art world, it was more a succession of events, relationships, and career moves that naturally led me here.
What keeps me passionate is the constant evolution: the emergence of new artists, each with their own language and message. The art world feels like an infinite space to explore, and nothing compares to the thrill of discovering a person, a story, or an artwork that resonates on an almost mystical level, one that’s difficult to put into words, but deeply felt.
Balancing commercial goals with curatorial integrity is certainly a challenge. In the beginning, I often struggled with “observer’s bias,” but over time I learned to overcome it. Opera Gallery also made it much easier to align commercial and curatorial strategies without having to sacrifice one for the other. I still find myself fighting instinctual impulses from time to time when making decisions for the gallery, but after more than a decade, these choices come more naturally, and I’m at peace with the integrity behind them.
3 – What is the most memorable artwork or exhibition you have been involved in personally and why?
Without a doubt, the first solo show we organized for Shepard Fairey in 2021. I had been following, and collecting, his work for a long time, so engaging with him and his team on a professional level through Opera Gallery was very special. Beyond the personal satisfaction, the project was rewarding on many levels given the sheer scope of planning and logistics it required. We began preparations well over a year in advance, which helped build anticipation but also underscored the complexity of bringing the exhibition to life. The show itself was extensive, with more than 150 pieces on display, and accompanied by satellite activations that posed new challenges for us as a gallery. One of the highlights was arranging for Shepard to create a large-scale mural in Dubai, something that required lengthy negotiations with local authorities, multiple approvals, and careful coordination for his team to work in difficult weather conditions. We also hosted talks and brand engagements, adding layers of corporate alignment and planning. On top of this, the exhibition took place just after the pandemic, so we had to navigate restrictions while still delivering a memorable experience to collectors, press, and local authorities.
In the end, Future Mosaic became one of the most impactful solo shows we’ve ever hosted. It left a cultural imprint on the region, the murals in Dubai Design District remain as a legacy for the public, and it successfully connected with a wide range of collectors, which was particularly gratifying for me.
4 – What is your advice for talented up and coming artists who have no representation at major galleries and who are talented enough to merit a chance, a breakthrough so to say?
My main advice would be: never compromise the integrity of your practice, your message, or your style. Stay true to your work and keep pushing forward. Use every channel available to get your name out there and share your message as widely as possible.
The reality is that the art world, like many others, can be an unfair place to navigate. Talent alone, unfortunately, does not guarantee representation. As in any professional field, a career can sometimes hinge on luck or a series of unforeseen events. That’s simply how the world works, and the art world is no exception.
5 – What opportunities do you see in cultural collaborations between Dubai and other art capitals?
There are countless opportunities. Cultural exchanges in the realm of art bring tremendous value to all participating countries. They foster greater understanding and appreciation of diverse artistic traditions, allowing both artists and audiences to broaden their perspectives. By sharing techniques, styles, and historical contexts, these collaborations can spark new forms of creativity and innovation. Additionally, showcasing artworks through exhibitions, collaborations, and residencies can boost tourism and economic growth, while supporting local artists in gaining global recognition.
