Ross Poole, artist and owner of Tighnabruaich Gallery, Tighnabruaich
Tighnabruaich Gallery re-opened in summer 2025, although much of the work around the Scottish Contemporary Collective (SCCoCO) [a mentoring, exhibition and residency support scheme for emerging artists] had already begun before that. The gallery itself has existed in one form or another for around 40 years, so there is a real sense of continuing a cultural space that already mattered to the community while also trying to evolve what it could be. The gallery was built alongside SCCoCO because I had become increasingly frustrated by how inaccessible parts of the contemporary art world can feel both for artists and audiences. There are already enough self-appointed gurus in the art world: what interests me is building something honest that genuinely supports artists while making contemporary art feel more open and connected to people. A major moment for us this year is Mach Squared, an upcoming exhibition with brothers David Mach RA and HRSA and Robert Mach.
How do you decide which artists to exhibit?
When deciding who to exhibit I’m looking for honesty and conviction in the work above anything else. Technical skill matters, but what stays with you is whether the artist is communicating something real. I’m particularly interested in artists willing to take risks creatively. Some of the most important work artists make is often work they’re unsure anyone will let them show. Contemporary art can sometimes drift into polished emptiness: work engineered to fit a market but leaving very little behind emotionally. I am much more interested in work that lingers.
Have you noticed shifts in what collectors or visitors respond to?
Collectors are asking more thoughtful questions now. People increasingly want to understand the artist’s story, process and context rather than simply buying something decorative. There also seems to be a growing appetite for authenticity and materiality. In such a digitally saturated culture, audiences are responding strongly to work that feels tactile, human and rooted in lived experience. I think people also care more about where their money is going. Buyers want to know that artists are being supported fairly and sustainably.
How important is it to balance commercial success with artistic experimentation?
It is essential. A gallery cannot survive without sales, but equally it loses its purpose if it only ever shows what is safe. Some exhibitions naturally have a stronger commercial pull than others, and that allows space for experimentation elsewhere in the programme. Ideally the two things should support each other rather than compete. Often the most rewarding moments are when collectors connect with work they initially found challenging.
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What’s changed most about running a gallery in Scotland?
Economically it has become much harder. Costs have increased across every aspect of running exhibitions, while discretionary spending has tightened considerably. Culturally, though, I think there is also an opportunity emerging. Audiences seem less interested in exclusivity for its own sake and more interested in spaces with honesty, personality and a clear sense of purpose. Independent galleries now have the ability to build very direct relationships with audiences, and I think that is reshaping expectations in a healthy way.
How do digital platforms fit into your gallery’s strategy now?
Digital platforms are central now. They allow a rural gallery in Argyll and Bute to have conversations with collectors nationally and internationally, which would have been far harder even a decade ago. That said, I still believe people buy from people. Social media and online catalogues open the door, but trust and relationships remain the foundation of sales and long-term support.
Are there particular themes which feel especially relevant right now?
Painting and printmaking continue to resonate strongly, particularly work that feels materially rich and emotionally grounded. Landscape remains hugely important in Scotland, but audiences seem increasingly interested in work that goes beyond representation and speaks about memory, identity, belonging or environmental change. There is a definite hunger for work that feels genuinely human.
What role does your gallery play in the local community beyond exhibitions?
Last year we worked with Tighnabruaich Primary School on lino-cut workshops, and experiences like that have been important in shaping where we want to go next. This year, through our first external funding, we are beginning to develop a wider workshop model that can provide free-to-access creative sessions. I would particularly like to develop work with recovery communities in the future. In a rural community like Tighnabruaich, cultural spaces need to feel open and connected to local life rather than separate from it.
If you could correct one misconception about galleries, what would it be?
It would be the idea that galleries or fine art are only for certain types of people. Art is for everyone. Some of the most rewarding moments for me are watching someone who would not normally walk into a gallery suddenly connect with a piece of work because they have been made to feel comfortable enough to engage with it. There are no frills to how I approach this. I think people sense that quite quickly, and it tends to put them at ease. You do not need expertise, money or the “right” vocabulary to respond to art. You just need curiosity and a willingness to spend time looking.
Mach Squared opens on June 13 and runs until July 5 at Tighnabruaich Gallery, Tighnabruaich, and forms part of RSA 200: Celebrating Together
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