On a sunny Saturday afternoon in late June, photographer James Retief and I found ourselves in a charming part of North Bristol. We were headed to SERCHIA Gallery to interview and photograph its owner and founder, Christine Serchia. This visit marked both my first time at her gallery and the inaugural interview for Söder Studio's new series, "In Conversation With." As we wound our way up the steep, Georgian terrace-lined streets, I could see why this was and idyllic setting for a gallery.

Christine greeted us warmly in her 200-year-old house, which serves as her home, gallery, and library archive. Over coffee, she gave us a tour of Eternal Orchard, a solo exhibition by Maine-based photographer Pia Paulina Guilmoth. Our conversation through out the day naturally transitioned from the gallery to art and design, and how these elements influence her wardrobe.

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*SERCHIA Gallery library*
*Photography by* *James Retief*

[A.S] Could you briefly introduce SERCHIA and describe your philosophy when it comes to gallery curation?

[C.S] SERCHIA Gallery is a contemporary, residential, and not-for-profit art gallery and artists residency, which I run from my Victorian home in Bristol. The exhibitions here are a visual soliloquy by artists who reveal personal narratives through the punctuation of an exhibition, so that others can witness a visual translation of their thoughts resembling something close to their inner monologue.

My curation looks at ways of translating ideas using time and light; ways of revealing what we choose to do, what we see and reveal in the time we have on this earth. SERCHIA has become a proverbial home for art, and artists of all backgrounds, ages, geography, and experiences to share their ways of seeing.

[A.S] Your book collection is incredible too. Tell us a bit more about your archive.

[C.S] The gallery houses an archive of artworks, and an art book library, both of which are available to others for their own creative research; to experience these things offline, to see and touch the actual pages of books and art objects, many of which are handmade, bound, and self-published. For those that aren't able to visit in-person, I'm in the process of translating the resources online to see the full collection of publications and artwork we carry. Many of which are so rare they only exist here.

[A.S] That sounds amazing, looking forward to using the archive from London. Beyond the Gallery itself what else have you been working on recently?

[C.S]. SERCHIA has also recently become the home of a photography studio and creative agency where, as a creative director, I match artists with independent brands to create unique concepts to articulate a brand narrative. Together we create artwork together based on research and concept to imbue narratives with meaning and purpose beyond aesthetics. I also offer individual guidance to artists via complimentary one-on-one portfolio reviews or via a more dedicated long-term programme of artist mentorship to help navigate the trajectory that they dream of for their creative practice.

HANDS - Published by Valentine Editions

Photo by James Retief

[A.S] You’ve made SERCHIA into a wonderful hub of creativity!

We also want to get to know you more, through a conversation about your clothing. If you had to characterise it how would you describe your wardrobe aesthetic?

[C.S]. “Nuncore” Well, not really but someone recently told me that I dress like a nun, which I actually take as a major compliment. Like if 'The Row' took a vow of poverty.

[A.S] I love this analogy - what makes you ‘Nuncore’ in your eyes?

[C.S]. Long oversized silhouettes, eternally draped in black, usually with an interesting neckline or collar, maybe one statement piece of jewellery. Minimalist, eternal.

My wardrobe admittedly is a black hole. Infinite black. I love wearing black, because it absorbs all wavelengths of light. I think of it as a magnet for attracting light, which allows photography to exist; the medium which allows us to document time. Having (almost) all of my clothing be black, lets me combine different silhouettes to create different forms.

I feel the most interesting part about each article of clothing is its shape, scale, materiality, texture, design, transparency, and I feel I notice these qualities more in the absence of colour or pattern. The same way I love silver gelatin photographs so much - it helps to see so much more of what's contained within a still of a single moment.

I love the idea of clothing being a single colour like if you were to wear a Jean Claude and Christo installation draped in a single colour of fabric to simultaneously cover and reveal the shape of you.

Like when people say 'the sky is blue' for me, 'clothing is black'.

I've noticed more how simple, minimal, and striking I want each piece to be; whether it's a photograph, or a sock, it's intentional.

Christine in her gallery wearing Söder Studio Swing Jacket in natural

Photo’s by James Retief

[AS]. As someone with an eye for detail, are there any links between the curation of your gallery and of your wardrobe?

[C.S]. Infinite parallels. Art is a holistic practice. It's difficult to separate your process from who you are as a person. I think about the curation of my wardrobe, and really of most things, in the same way I curate an exhibition.

When I envision an exhibition, I try to visualise it in its entirety and choose only the strongest most essential pieces. I consider the scale, the materiality, the inherent colour of the materials, the chronology of the placement, the evolution of each piece over time. Will it have the same effect seeing it the first time as it will ten years on? As with art, these are characteristics I also consider in clothing.

I've noticed more how simple, minimal, and striking I want each piece to be; whether it's a photograph, or a sock… it's intentional. I try to always wear at least one unexpected thing, something wildly overstated or just a tiny detail that makes the expression of it memorable. Sometimes that detail is invisible, but it's part of the history, story, memories, or people behind it. A surprising amount of the things I wear each day, like the art on my walls, are actually gifts from others, which I wear to keep the thought of them with me.

[A.S] Has owning SERCHIA Gallery changed your wardrobe in any other ways?

[C.S] This will shock some people, but I've noticed since beginning the gallery that I wear much more colour. And when I say colour, it's usually a shade which is named after a breakfast ingredient; milk, oatmeal, butter, coffee, cream...

[A.S] Or like a anthrotype photograph?

Christine in her gallery wearing Söder Studio Minimal Work Jacket in charcoal black

Photo’s by James Retief

[C.S] I've also started gravitated toward independent designers - they make the most interesting things. When I do buy clothing, I like to be selective and to find something handmade, or one-off, and often second-hand. Knowing how much time, thought, experimentation, and research a person spends on their own design, it's impossible not to notice how incredibly special it is and it carries an implied sense of time with it which predates the inaugural moment you wear it.

Whenever I add to my wardrobe, I put a lot of thought into every addition. I know that I'll wear each thing for about a decade, or until it's been worn so frequently that it's virtually unwearable. I try to repair each piece as I go, and keep it as pristine as life will let me - no matter how old it is. I always find that I become very sentimental about it because it accumulates so many memories like a wearable timeline.

[A.S] You speak about items holding significant meaning to you.

What is one of your longest serving pieces? Why do you love it and think it’s stood the test of time?

[C.S] I would have to say the most ancient item I own, by a century, is my late grandfather Americo Serchia's Pendleton overshirt. It's 100% wool, it's very oversized, plaid with a front pocket and tortoiseshell buttons. My grandfather Americo passed it on to my father, Frank who would wear it whenever he was doing work on or around our home in Niagara Falls, which we affectionately call “Serchia Drive”.

When my father passed away, it was one of his articles of clothing I brought back to the UK with me. I wear it all the time in the gallery, so I keep the memories of them both with me.

[A.S]. The memories and meaning items can give us is really special.

[C.S] Clothing passed down by my family, I know I will always keep and wear them forever: my father's “Junior's" T-shirts which he made as kind of a uniform, for his business, Junior's Truck Stop in Niagara Falls, New York - which became kind of a cult following in Niagara and every time I wear mine, people ask how they can get one, too.

[A.S]. I have to see this!

[C.S] And especially my mother Geri's jewellery. She's one of the most stylish people that I know. Whenever I go home to visit her, she'll have something beautiful that she'll want my sisters and I to have - always unique pieces. I've never seen anyone wear anything like the things she finds. I think aesthetically, my parents have always known how to be unforgettable, and their aesthetic choices have always reflected that.

These items all kind of chose me rather than things I found myself, and I think clothing has its own way of finding people. None of them are even remotely close to being new, yet I wear all of them all the time, and whenever I do people always remark about how interesting they are - which I can take no credit for, but I welcome the opportunity to tell their origin story and be reminded of my family.

Items passed down by Christine’s family

My grandfather Americo passed it on to my father, Frank who would wear it whenever he was doing work on or around our home in Niagara Falls, which we affectionately call “Serchia Drive”.

[A.S] That’s lovely. Our wardrobes really do hold stories and our clothes can be the icebreaker to a conversation. You must be constantly meeting new people at the gallery, especially on opening nights of a new exhibition. Do you have a go-to look for those special occasions at SERCHIA GALLERY?

[C.S] The gallery absolutely has its moments, in particular for openings, when the exhibition is viewed for the first time. It gives me a chance to wear something wildly impractical, so I look forward to it. I've developed a kind of ritual for each opening ceremony which involves many things, one of which is impulsively choosing something to wear as a response to the artwork; the exhibition; the artist, or the theme.

Whether it's SERCHIA or a private view for another gallery, openings are definitely the time, which I consciously imbue the most thought into what I wear. I've always loved observing how people express themselves through clothing. Getting dressed can be so utilitarian, but it can also be incredibly playful, and that side comes out the most when I'm in an environment that inspires me.

Although, I got caught out by one of my artists, Sadie Catt, who immediately drew attention to the fact that I wore my slippers for her opening of 'Beekeeper' which I've done religiously for the private views ever since!

[A.S] Well, if you can’t wear slippers in your own home, where can you?! Do you have a favourite season to dress for?

[C.S] It's gotta be a draw between my two favourite seasons: Summer and Autumn.

I've always worshipped the sun. I find summer exciting and energising. I've always felt a bit solar-powered. Summer is such a different season from the others. I like to wear white rather than black. I wear gold rather than silver. It makes me feel like a different person. It's like having an alter ego and satisfies my love of dichotomy by absorbing and celebrating light.

I love swimwear and used to keep a swimsuit in my bag in summer, so that if there were an opportunity I could swim or sunbathe I could take it. Obviously that was before I moved to the UK.

[A.S] That’s what growing up by the Great Lakes does to you - something I equally can relate to! And what about Autumn?

[C.S] For Autumn, it's such a special time of year which feels like there's so much natural alchemy. The leaves change colours, the sun still has a warmth to it, but there's a coolness in the light.

I think there's something about Autumn that sparks change in a way that we all welcome: the beginning of something, which is also the ending of something. It feels like something exciting is just about to happen. I always look forward to dressing for this season.

Wearing warm layers of fabric again, a long coat, a soft sweater, boots - all things you can wear while it's still warm enough to enjoy being outside and cold enough to notice a crispness and smoke from firewood.

[A.S]. And finally, what advice would you give to someone looking to build a wardrobe with longevity?

[C.S] Seek things that create their own sense of time, that reveal something inherently about you; that collaborate with the shape of you. Made with care from natural materials that improve with time and history.

Sartorial reminders of the people, time, and places you spent while dressed in them; wearable timelines; memorable and fascinating artifacts and details. Notice the things that you're most drawn to, especially the unusual, which are harder to find, but worth finding. Find things that you feel comfortable being you in, so even when you're not wearing them their simple existence is a reminder of all the little moments that make up your one precious lifetime. |

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