I want you to take a moment and go back to 2000, younger Jean-David Malat in London, about to get in the art industry. And here you are; what has led you to this success?
I came to London in 2000, in a way to change my ‘Parisian’ life. I was working in fashion shops and from that position I became a director and manager and therefore I met a lot of people. I was quite young an dynamic so I was trying to meet as many inspiring people as possible; I was quite dynamic and young anyways. In 2005, I had good a good chance to have a leap of faith and used opportunities to resume my work in arts industry. Very quickly, I must say I never expected to work in arts, but my heart led me here. My career evolved around my heart and my passion. I also love dealing with artists, I like to have a connection with them, I need to connect with the artist themselves so that I can build a relationship.
That’s amazing – you know they say when it comes to art and their creators, you need ‘separate’ the art from the artist. But you don’t do that?
No, I take the whole package! For example with Erdogan Zumrutoglu I love our connection. We speak French sometimes, connect, discuss stuff, have a drink etc. It all matters for me and obviously from that connection I need to see the art speaking to me as well. If I secure those two qualities, then the artist has my trust!
You’re not unfamiliar with being able to cope with global crisises and not letting them stopping you – back in the 2008 economic recession, unlike many other art dealers you were still in the business and keeping active. How has the pandemic been different for you, has it been harder? How have you been adapting to the ‘new normal’?
It’s a very strange time indeed. What I remember is that it all happened very quickly back in March. I was in New York at an arts fair and when we came back in London we were in lockdown. So yes, it’s strange however I can say in a way we were actually prepared. Because we already had a good foundation in terms of our digital presence online so we boosted all our online resources with our virtual gallery tour, social media use and an online arts competition called ‘Isolation Mastered’. We adapted into the ‘new normal’ and started looking for inspiring young artists so no matter what, we have been always working as a team.
French people are known to be the architects of fashion, how do you find London’s fashion & arts scene?
Ah, I must say I feel more of a Londoner than a Parisian to be honest – I just like the diversity here whereas in Paris you may come across with a bit more stereotypes maybe. I love both cities but definitely belong to London’s arts scene indeed.
I love Zümrütoğlu’s art, very surrealist and psychedelic in a way that looks quite like coming from subconscious. How did you discover him and his art?
It all goes back to 2017 when I was at Istanbul Contemporary art Gallery. I was with my Turkish assistant there and we were going through the lovely fair and the bienal so the fair took us to Zumrutoglu. I remember seeing one of his pieces and I was, simply struck. I was like “Gosh, what is this?!” From the colours represented to the size, the emotions to the vibrancy, I remember that I couldn’t take it out of my mind! I developed the sudden urge to get to know this artist, so I talked to my assistant saying “Hey, I want to meet this artist” so in the end they talked in Turkish and we grew a great relationship. Discovering Zumrutoglu had a great timing because at the time I was just working for the opening of my gallery in Mayfair, London and we opened through his artwork in the end. This is the second time we are featuring his art and who knows maybe in the future we could do one in Paris or elsewhere. He works on quite large canvases so it’s been great that I have the space here!
You’ve worked with many well known people but also made a lot of artists known as well – for you, what was the most gripping point about Zümrütoğlu’s art?
For me every single bit of his art is monumental. If I could choose just one art I couldn’t do it, I would take everything! And as for the sculpture, he has a unique affect that at first, you say “oh, interesting” and then you look at the piece again and it grows on you, you find a story there. For me, that journey has been very gripping.
Do you think you see a trend in Turkish artists’ products? Or is there a common trait that a majority of Turkish artists/creatives possess?
I love your country – it’s very rich in culture and the people are just really great. I did a fair in Istanbul last year, the people are so nice; Turkish people always love to learn. I find the vibes similar with what I experienced in Mexico, Mexican people are also very warm and energetic and so are the Turkish. In terms of Turkish artists I can’t generalise all of them but obviously the warmth and energy must be reflecting on the arts scene of Turkish people.
You worked with Zümrütoğlu again back in 2018, for his Mirror of Darkness exhibition. In your eyes, what is different in Zümrütoğlu’s style today in this new exhibition, Atonal Drift?
This current one is a very different one. The way we curated Mirror of Darkness was so different also because it was Zumrutoglu’s first time in London so in a way it was a risk that both he and I took. But it all blossomed beautifully. And last September in Istanbul we planned his show, it was more different. I think artistically when you look at Mirror of Darkness the colour palette is darker and foggier. Whereas the Atonal Drift has more lighter touches where colours are quite brighter and interactive.
I think it’s nice to have a contrast between exhibitions, keeps the artist fresh, what do you think?
Yes – but we must not forget that when you see Zumrutoglu’s art, no matter how different or contrasted it may be, you still recognise that it’s him and I think that’s very important.
I know that you love a good espresso Martini, now that we’ve been through a total lockdown have you found ways to do one yourself? Or can you recommend us your top venues that London lovers can enjoy a good espresso martini?
Ah, yes! Well unfortunately I haven’t mastered any self-made espresso martinis but I can list you and your readers a few of my favourite places that make a good espresso martini: Louie’s of Covent Garden is amazing, Annabell’s and obviously Claridge’s is just great. It actually used to be a ritual for me to take the artists I worked with to any of those venues and have a drink before the exhibitions, it’s a great motivation!
Well, thanks Jean for this lovely interview and looking forward to seeing more from you and your gallery in the future!
Thank you!