The artist's perspective

Christine Raymond describes her current work as abstract art, a combination of gilded and painted sections highly inspired by the big Idaho sky. She has been represented by various galleries throughout her career, and has been with the J Crist Gallery since 1998.

The primary benefit of gallery representation, Raymond believes, is having someone to champion her work. She also appreciates that representation ensures her art will be shown. As for the business end of the art business, she is happy to leave that to the gallery so she can focus on creating new work.

Raymond says she's never suffered a bad relationship with a gallery. "For me," she says, "J Crist has worked out particularly well. We have similar aesthetics ... For artists looking for representation, it's important they seek out a gallery with a similar view of art. At a certain point, it's not personal, it's simply matching up."

See Raymond's work at

Molly Hill is currently represented by the J Crist Gallery and the Seattle-based Grover/Thurston Gallery. She's also considering an invitation to exhibit with a gallery in Southern California.

"Gallery representation," she says, "is an endorsement of an artist's work. The gallery becomes a good interpreter of what an artist can say in pictures but may not necessarily be able to verbalize ... Through experience, knowledge, contact and interaction with other galleries and artists, the gallery is familiar with what is going on generally in 'the art world' and knows where a particular artist's work fits in."

A self-described figurative express-ionist, Hill paints in oil and acrylic, and sometimes includes collage elements. She credits gallery representation with increasing exposure to her work through group and one-person exhibitions. She believes it has also given her the freedom to work as a full-time artist.

See Hill's work at, and

Cate Brigden is a painter, photographer and printmaker. She's been with the J Crist Gallery since 1995, and describes representation as a business relationship between an artist and a dealer.

"In my opinion," she says, "the benefits of having a gallery--or better put, a person to sell and represent you in the art market--are the connections that person can bring to you." She explains that galleries provide invaluable contacts with the buying public and also understand how an artist's work might fit into the art scene locally and beyond.

As for drawbacks to representation, Brigden cites the need to produce work on a continual basis. "It can create artificial pressure that many artists have a difficult time with," she explains.

As for Brigden, working with J Crist has positively affected her career. She credits the gallery with increasing the value of her work by placing it in private and public collections, and helping her procure many commissions.

See Brigden's work at


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