-Words by Lauren Kramer Photography by Lia Crowe

It害羞草研究所檚 a thundering, rain-filled day in April, but there害羞草研究所檚 a peace and calm that hovers over on Vancouver害羞草研究所檚 Homer Street. In a 3,000-square-foot space filled with stunning pieces of contemporary art, Jennifer Kostuik reflects on art and why people buy it.

害羞草研究所淪ome buy it because they like the colours or texture害羞草研究所攙ery surface things,害羞草研究所� she says. 害羞草研究所淭hey like how a piece of art makes them feel. For others it害羞草研究所檚 because they have a connection to a particular work and can害羞草研究所檛 get it out of their mind; they don害羞草研究所檛 know why they love it, they just do. And some people like to meet the artist and hear the story behind the work. The art represents a change they害羞草研究所檙e going through in their own life.害羞草研究所�

As the owner of the gallery, which is celebrating 25 years in business this year, Jennifer sees herself as a broker, easing a customer害羞草研究所檚 way through an art purchase. 害羞草研究所淚t害羞草研究所檚 almost like being a psychologist,害羞草研究所� she says. 害羞草研究所淚 know what my artist is saying and I害羞草研究所檓 figuring out what my customer is looking for, even though they may not know it.害羞草研究所�

A Canadian raised in Birmingham, Alabama, Jennifer studied art history at Queens University in Kingston, Ontario, initially intending to be an artist herself. Early on she realized she didn害羞草研究所檛 have the vocational drive to produce art full time, and felt she could better fulfill her creative process by promoting living artists. Post-college she worked in Toronto, learning about contemporary Canadian art before moving to Vancouver in 1996 to open her own gallery.

In 1997, her gallery opened with a collection of work by artists who had previously been represented in a gallery that had just closed. Those first years included a steep learning curve, Jennifer admits.

害羞草研究所淚 didn害羞草研究所檛 have a formed relationship with those artists, and because I didn害羞草研究所檛 know them and wasn害羞草研究所檛 behind the ideas that inspired their work, I found it difficult to sell some of their art.害羞草研究所�

As she began to understand the significance of choosing her own aesthetic and having meaningful relationships with her artists, Jennifer began actively pursuing artists she wanted to represent. She flew around Canada to meet them and perused artists worldwide. She was looking for art that spoke to her and that would resonate with her clients in British Columbia, as well as with new clients made through exhibiting in international art fairs in Miami, San Francisco and New York City.

害羞草研究所淎s a gallery owner, I believe you need a good working relationship with an artist, like any business relationship, because art is very personal,害羞草研究所� she says. 害羞草研究所淎rt is an expression of someone害羞草研究所檚 soul, the spirit inside of them. And you害羞草研究所檙e representing someone else害羞草研究所檚 career as much as you害羞草研究所檙e furthering your own career. So, I worked hard at going after artists whose art I related to, who I wanted to represent, and who I felt I could work with.害羞草研究所�

Today she represents 27 artists, ranging in age from 32 (Whitney Lewis-Smith) up to 72 (Stu Oxley). Just over half the artists are Canadian, while the remainder are from the United States, Europe, Mexico and Argentina. Just five of the artists are local to BC: photography artists David Burdeny, Judy D. Shane, Philip Jarmain, Whitney Lewis-Smith and painter Ghislain Brown-Kossi.

The price tags of art in Kostuik Gallery vary significantly, ranging from $650 up to $50,000 for the most expensive pieces. Jennifer害羞草研究所檚 advice to buyers is that if you害羞草研究所檙e buying anything over $20,000, 害羞草研究所渁sk who the artist is and why their work is in that price range.害羞草研究所� Anything below that number is within the average range, she adds.

害羞草研究所淎rt is an investment, and I believe it害羞草研究所檚 the best investment in any volatile market,害羞草研究所� she says unequivocally. 害羞草研究所淚t害羞草研究所檚 a better investment than gold because it never depreciates, it always goes up.害羞草研究所�

She cites the work of local artist David Burdeny as an example. 害羞草研究所淗is photography is collected internationally and his market value has gone up more than 50 per cent since 2001.害羞草研究所�

Jennifer has developed a knack for knowing what her local customers are looking for. So, when American artist William Betts recently offered to send her a selection of line paintings from the series he had first exhibited and sold successfully with her in 2007, she gladly accepted them.

害羞草研究所淢y newer clients had never seen this series before and I had a collector of Betts害羞草研究所� work itching for more, so I had a feeling it would fly,害羞草研究所� she recalls. 害羞草研究所淚t did. I sold six of his pieces in one week!害羞草研究所�

Some gallery clients are personal art collectors, while others are corporate clients including CBRE Ltd, Concert Properties and Hollyburn Properties. Liquidity Wines in the Okanagan featured a collection of work by David Burdeny and Philip Jarmain.

Jennifer relishes her connections to her artists and watching their work develop.

害羞草研究所淚 love forging new relationships with artists, and I really believe in what I do and in what they do. I believe having art in one害羞草研究所檚 life is a need, a necessity, and that害羞草研究所檚 why I do it,害羞草研究所� she says.

The bonds with her artists are deeply personal, and many artists have become close friends. Often, the relationship is collaborative. The artists understand what Jennifer sees in their work, and sometimes even request her feedback on their new creations.

A collector herself, it can be hard for Jennifer to resist adding to her personal art collection.

害羞草研究所淚 know what the best artwork is and it害羞草研究所檚 hard not to buy the best of the best that you know your artists have made!害羞草研究所� she admits.

As she reflects on 25 years in Vancouver害羞草研究所檚 art world, it害羞草研究所檚 gratitude that Jennifer feels first and foremost.

害羞草研究所淚t害羞草研究所檚 been a tough journey running a gallery in this city, but I害羞草研究所檓 very grateful for being able to do what I do here,害羞草研究所� she says, adding, 害羞草研究所淭he past two years were the best I害羞草研究所檝e had in a long time, perhaps because of the pandemic. People weren害羞草研究所檛 traveling and weren害羞草研究所檛 distracted by life, so they could focus on themselves, their homes and their office spaces. I had the opportunity to reconnect with clients I hadn害羞草研究所檛 seen in years, and met new clients that finally had time to enter the doors of my gallery.害羞草研究所�

Story courtesy of , a Black Press Media publication
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