Rethinking artist’s statements as journeys

In a recent conversation on the Creating New Spaces podcast, Matt Warren reflected on the challenges of artist statements:

I almost feel like the title is enough. Most places want you to write a statement, and that’s okay, but I prefer people to experience the work first—then maybe read the statement after. We’re bombarded with so much information, and I think giving people space to think for themselves makes the experience richer. — Edited from Matt Warren

This got me thinking more about artist statements and their role in shaping an audience’s experience. Instead of treating writing as a static, one-size-fits-all explanation, it’s useful to see it as part of a larger journey—guiding the audience before, during, and after an exhibition.

In reality, three distinct types of writing are needed, each serving a different purpose:

• Marketing: Generating interest and drawing people to the exhibition.
• Exhibition texts: Guiding the experience within the gallery.
• Documentation: Preserving the work and its context beyond the exhibition.

The rest of this reflection looks at my recent project Crossing as a case study. If I were writing these again today, I would take a radically different approach. I was pleasantly surprised by how well the approach of writing for the journey worked with this installation. Like many visual artists, I don’t find writing easy, and it feels strange to be giving advice on artist writing when I don’t consider myself an expert.

Stage 1: Generating interest in the exhibition

The first stage of exhibition writing is about drawing people in—sparking curiosity and giving them a reason to visit. Since the audience hasn’t yet engaged with the work, the writing should act as an invitation rather than an in-depth explanation.

Effective art promotional writing provides enough context to intrigue without overwhelming. Practical details like location and dates are essential, but tone matters too—it should feel engaging, reflect the work, and align with the artist’s voice.

Example: A social media post about Crossing

Crossing is an immersive interactive installation, negotiating ever-shifting waters and exploring our relationship with the sea and the act of crossing.

22–30 April 2023 | 10 AM–5 PM (Closed on Anzac Day)

SOCIAL, Salamanca Arts Centre, 67 Salamanca Place, Hobart 7000

Experience the mesmerising journey of Crossing, an immersive installation that explores the themes of being close to the sea and the act of crossing. As you enter the space, you are greeted by wooden pathways and screens covering the gallery floor; these are evocative of pathways, bridges, or stepping stones. With each step, you are transported deeper into the experience, surrounded by fluid animations and immersive sounds that evoke the sensation of water and waves.

Key strategies for writing at this stage:

• Focus on the core ideas: Identify the essence of the work and summarise it concisely.
• Adapt for different platforms: Social media posts should be punchy and visual, while newsletters allow for more detail.
• Frame it as an invitation: Encourage people to see the work for themselves rather than telling them exactly what to expect.

Marketing writing is about creating a spark—compelling people to step into the experience.

Stage 2: Guiding the experience in the gallery

Once the audience is inside the exhibition, writing serves a new role: guiding the experience. This includes artist statements, room notes, wall texts, and captions.

Example: The first section of the artist statement for Crossing

For me, this installation is an exploration of three interrelated themes: the experience of being close to the sea, the act of crossing, and how the practices of Japanese garden design can inform interactive art installation practice.

Water is an essential element of our existence. For me, water is a source of comfort and inspiration. My days often begin in a pool, and on weekends, I find myself walking along beaches, immersing myself in the sounds and sensations of waves.

Key principles for writing at this stage:

• Balance context and mystery: Provide enough information to support understanding but leave room for personal interpretation.
• Use accessible language: Avoid overly academic or technical terms unless necessary.
• Respect the audience’s journey: Keep text concise, assuming visitors may engage with it briefly.

Stage 3: Documenting the exhibition

After an exhibition ends, writing preserves its impact, ensuring the work lives on in websites, catalogues, essays, or portfolios.

Example: Documenting Crossing

As the viewer enters Crossing, they are greeted by a series of wooden pathways and screens covering the gallery floor, creating a unique and evocative environment, with each step offering a new and intriguing perspective.

Key principles for writing at this stage:

• Capture the experience: Describe what the exhibition felt like to attend.
• Provide depth and context: Explore the themes, inspirations, and artistic methods behind the work.

Conclusion

By viewing artist statements as part of a broader journey, artists and curators can tailor writing to different stages of audience engagement—discovery, experience, and reflection.