Southern Guild’s Path to Becoming a Global Platform for African Artists

When Trevyn and Julian McGowan opened Southern Guild in 2008, they were motivated by the allure and uniqueness of South African art, as well as the down-to-earth craftsmanship that is synonymous with the country’s artists.

“We were witnessing what felt like a movement or upwelling of artistic expression in South Africa and further afield. We were (and continue to be) very inspired by the work we were seeing and wanted to create a conduit to share that with the world,” McGowan told Artsy. “We realized our calling lay in empowering artists to express themselves at the deepest level. We see the possibilities, and often work closely with our artists to catalyze new work, act as a sounding board, and facilitate their ideas by helping them find fabricators and artisans.”

In the years since, Southern Guild has bloomed into one of the most influential galleries in the city and a leading ambassador for African art on the global stage. Its program includes several artists who are among the leading African voices in the international art world, as well as emerging names that it continues to support.

And earlier this year, the gallery opened its first international outpost in Los Angeles, where it aims to expand its mission further. Here, the pair speak to Artsy about the gallery’s roots and growth.

From London to Cape Town

Trevyn and Julian McGowan’s connection to the art and design world started early. Julian initially embarked on a career as a set and costume designer and worked on over 140 productions. Trevyn, on the other hand, ran an interior and architectural practice that specialized in converting warehouses and office buildings, as well as retrofitting the spaces for high-profile clients.

It was during this time in London that they began to form friendships in the local art world and began to collect, acquiring works by the likes of Marc Quinn and Sam Taylor-Johnson.

The more the pair collected, the more their tastes grew, and they decided to return to South Africa, where they were struck by the ingenuity of the artists they encountered.

“It was the utterly unique viewpoint we have here,” said Trevyn. In the gallery’s earlier years, he added, there was a “strong focus on exploring identity and South Africa’s wrought history through making especially the deep connection to material cultures that are both ancient but very much alive.”

He added: “It’s a generalization but I think an accurate one that there is a prevailing spirituality about so much of the work coming out of South Africa.”

Entering the Cape Town art scene

The gallery was established in 2008 and inaugurated its first permanent space in 2014, before opening its doors in Cape Town’s trendy Silo district in 2017, with a focus on contemporary artists from Africa. Its mission is rooted in its name: In the spirit of a guild, it aims to place community and collaboration above all else.

“We have always been rooted in a perspective that is artist-centric, and are committed to the growth of our artists’ careers,” said Julian. The gallery has also grown with a Cape Town art scene that has witnessed a large rise in the number of artists and galleries in recent years.

One significant attribute of the city is the connection that many artists have with their ancestral, environmental, and spiritual roots, which they incorporate into the details of their art. This is reflected in the roster of Southern Guild, where many of the artists they represent share a distinct focus on artistry—like ceramist Andile Dyalvane, sculptor Zizipho Poswa, fashion designer Rich Mnisi, and sculptor Adam Birch. “It’s incredible to have witnessed the push and pull of their creative process, be a sounding board for their ideas, and experience the birthing of new bodies of work,” said Julian.

Many of the artists that the gallery has worked with have found international acclaim: Zanele Muholi, for instance, currently has a traveling retrospective, which is on view at London’s Tate Modern. Work from the gallery’s artists can also be found in several institutional collections worldwide, from the Brooklyn Museum to the Centre Pompidou.

“I think our artist relationships are unique in that they are largely symbiotic,” noted Julian. “We are proud to be able to facilitate artistic growth in a very tangible way. Our access and know-how to differing manufacturing techniques allows our artists immense freedom in their vision.”

The gallery also aims to nurture new talent through educational projects, talks, mentorship initiatives, and its GUILD Residency, an international studio program for artists seeking to engage with the local context. Zimbabwean artist Xanthe Somers, who currently has a solo exhibition at its Cape Town space, was a part of the residency.

Transcontinental expansion

An international outlook has always been fundamental to Southern Guild’s approach. It maintains a robust schedule of international art fairs, and its stated aim from the outset has been to “invest in the growth of the African creative ecosystem.”

Earlier this year, it took its most ambitious step in that direction yet, opening a new space in Melrose Hill, Los Angeles. “This is the culmination of our years of contribution to the local art sphere,” said Trevyn. “Our aim is to be permeable and inclusive and to hold this gallery as a site for exchange, collaboration, and community.”

The gallery launched the space with “Mother Tongues,” which featured works by 25 artists of its represented artists. For the McGowans, it was a monumental moment for their community especially, given that it is the first South African gallery to have a permanent gallery in the U.S. It’s early days yet, but the reception has been strong, they note.

“We have found a wonderful synergy and warm sense of community in L.A. since opening in February this year,” said Trevyn, with interest from collectors, curators, and museums. She praised the “camaraderie among the other galleries and neighbors” as well as the “genuine interest in our artists’ world.”

Grand ambitions