--- title: 'Abbozzo Gallery: Blake Zigrossi on Growing With Its Artists' description: >- Abbozzo Gallery's associate director on growing up in a family gallery, what he looks for in a portfolio, pricing new artists, and why a no is not a verdict. date: '2026-10-09' author: David Rozenfeld tags: - featured gallery - commercial gallery - gallerist - art fairs - pricing - portfolio - Toronto url: 'https://www.artsume.com/community/abbozzo-gallery' type: community coverImage: >- https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898243993-29sxar.jpg deck: >- The associate director on growing up in a family gallery, what makes an artist–gallery relationship work, and helping Canadian artists reach new audiences. featured_subjects: - name: Blake Zigrossi type: Person profile: /a/blakezigrossi - name: Abbozzo Gallery type: Organization profile: /o/abbozzo-gallery - name: Miles Ingrassia type: Person profile: /a/milesingrassia featured_artist_portrait_url: >- https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898243993-29sxar.jpg media: 'https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898243993-29sxar.jpg': alt: >- Blake Zigrossi smiles in a striped knit sweater in front of a wall of paintings. width: 1500 height: 2000 credit: Image supplied by Abbozzo Gallery focus: x: 50 'y': 30 'https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898244604-ieed8e.jpg': alt: >- A blue awning reading Abbozzo Gallery over a small brick storefront on a snowy street, with cars parked outside. width: 2000 height: 1993 credit: Image supplied by Abbozzo Gallery focus: null 'https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898245017-knk9oq.jpg': alt: >- A long white gallery with a black steel staircase, a wood-panelled front desk and large colourful paintings along one wall. width: 2000 height: 1500 credit: Image supplied by Abbozzo Gallery focus: null 'https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898245553-fm9ozf.jpg': alt: >- Blake Zigrossi and Miles Ingrassia stand together in a fair booth, in front of Miles's paintings of young men. width: 1500 height: 2000 credit: Image supplied by Abbozzo Gallery focus: null 'https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898246689-gqy11t.jpg': alt: >- Three figurative paintings in warm oranges and deep blues on white walls show two men drinking wine, hands with a knife, and a group outside a shop. width: 1333 height: 2000 credit: Image supplied by Abbozzo Gallery focus: null 'https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898246916-e3f8m1.jpg': alt: >- Blake Zigrossi and John Vitale look over a large stretched canvas on the floor of John's paint-spattered studio. width: 2000 height: 1500 credit: Image supplied by Abbozzo Gallery focus: null 'https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898247216-u8jowv.jpg': alt: >- A large abstract painting in cream, blue and green, beside three small framed abstract works on a concrete column. width: 2000 height: 1828 credit: Image supplied by Abbozzo Gallery focus: null 'https://kzzpzffowqyooyadeqnl.supabase.co/storage/v1/object/public/cms-images/posts/blake-zigrossi-1790898247458-djngz9.jpg': alt: >- Miles Ingrassia's figurative paintings and John Vitale's abstract paintings hang on either side of a concrete column. width: 2000 height: 1333 credit: Image supplied by Abbozzo Gallery focus: null portfolio_work_ids: - 6555e794-3632-4a93-81d3-76cde585e355 - 0b921993-0979-4572-92a8-309b6d592e8d - edabccf7-28e8-4f60-9aef-c49b6293a18f coverCaption: 'Blake Zigrossi, associate director of Abbozzo Gallery.' --- # Abbozzo Gallery: Blake Zigrossi on Growing With Its Artists The associate director on growing up in a family gallery, what makes an artist–gallery relationship work, and helping Canadian artists reach new audiences. Before [Blake Zigrossi](/a/blakezigrossi) worked at [Abbozzo Gallery](/o/abbozzo-gallery), he was one of the children running around it. His mother, Ineke Zigrossi, founded the gallery in 1993, and some of the artists he works with today have known him since he was small. Joining the family business was not an automatic choice. An interest in literature and cultural studies led him to organize arts events at university, and one summer of help at the gallery slowly became a career. Today he is the associate director. His work runs from artist relationships and international fairs to packing shipments and sweeping the floor. The gallery has moved twice since Oakville: to 401 Richmond Street in downtown Toronto in 2013, and to the Junction in Toronto's west end in 2025. In this conversation with the [Artsume community](/community), Zigrossi talks about what catches his attention in a portfolio, why a rejection is not always a judgment of the work, and how he hopes to carry the gallery forward. _This interview has been edited and condensed for clarity._ ## Growing up around the gallery **What are your earliest memories of Abbozzo?** I have three siblings, and I remember the four of us running around as toddlers in the Oakville gallery. Everyone was trying to manage these hyperactive children without us bumping into the artwork. They would cut off a big piece of bubble wrap and give it to us. We would sit there popping the bubbles, and that would keep us occupied. Growing up, I also got to know the artists. Back then, I was the director’s child. Now I’m the person working directly with them, so the nature of those relationships has changed. Some artists have been with the gallery for a very long time. They’ve seen me grow up, and then they’ve seen me take on a larger role within the business. That’s a really special part of it. [![A blue awning reading Abbozzo Gallery over a small brick storefront on a snowy street\, with cars parked outside\.]()](/a/blakezigrossi) Abbozzo Gallery’s first home\, in Oakville\. Image supplied by Abbozzo Gallery **Did you always imagine you would work in the family business?** I knew I wanted to work in the arts, but I didn’t necessarily expect to work directly in the family business. As the child of a small-business owner, you end up helping in little ways. As soon as I had my driver’s licence, I was delivering artwork. I would help with installations, fairs, and whatever needed doing. At Western, I studied literature and cultural studies. There were opportunities to organize arts events on campus, and I got involved in the directorial and curatorial side. My roommate was in the fine arts program, so I was constantly meeting artists too. I realized how much I enjoyed that environment. Then I came home one summer, the gallery needed help, and it gradually became a full-time job. I started as an assistant in 2017. The associate director at the time taught me a great deal about gallery administration, and when she retired, I took on more of that work. **What made you decide to study arts and cultural management?** During the pandemic, I started thinking more seriously about what I was doing and where it might lead. I had a literature degree, but I wanted to understand how to run a business in the cultural sector. If I was eventually going to take on more responsibility at the gallery, I wanted a stronger foundation. The master’s program in Barcelona helped me understand how cultural institutions operate, including the business and marketing side. The way people interact with an arts organization can be quite different from other businesses. I’m really glad I did it. When I came back, I became much more involved in shaping my role at the gallery. **What does that role look like day to day?** We’re a small business and a small team, so everyone does a bit of everything. I’m largely responsible for day-to-day operations and a lot of the client-facing work. If a collector, artist, curator, art consultant, or fair director contacts the gallery, I’m often the point of contact. My mother is deeply involved in those relationships too, particularly with collectors she has known for years. But the work can be anything: answering emails, preparing the next exhibition, organizing an international opportunity, packing artwork, taking pieces to storage, or sweeping the floor. It really is everything. ## A business built on relationships **How has the gallery changed since you joined?** Even the difference between when I was a child running around the gallery and when I started working there is enormous. Around the time I joined, the art market was moving increasingly online. Instagram became more important for promoting work, and online marketplaces became a much larger part of the business. When we were in Oakville, the gallery was more of a destination. People would come in, see something on the wall, and purchase it directly. I would estimate that roughly 60–75% of our sales are now managed entirely online. But that’s different from saying that all those collectors first discover the work online. Someone might visit the gallery, become familiar with an artist, and then contact us by email. The discovery happens in different ways. What has changed is how much of the conversation and the transaction happens digitally. **What has allowed Abbozzo to remain relevant for more than three decades?** Being committed to our artists and collectors, communicating often, and constantly trying to do our best. You have to keep your ear to the ground because tastes change. You need to find artists whose work connects with your collectors, and then grow with them. It’s also important not to grow too quickly or try to do everything at once. Sometimes you have to be comfortable with steady growth, a slow month, or a difficult quarter. Running a gallery can be a roller coaster. I think not becoming desperate helps. You need to believe in your process, keep working, and be willing to stay with it. And you have to stay curious—not just about your own gallery, but about the wider art community. **What does being part of that wider community mean to you?** It means going to other galleries, meeting artists, talking to people, and being a champion for the arts generally—not only for your own business. I don’t think of other galleries simply as competitors. We can learn from one another, rely on one another’s expertise, and grow together. The Art Dealers Association of Canada has been a huge resource for us. It brings together dealers with expertise across different artists, practices, and markets. Sometimes that support is very practical. I might need a framer in Calgary. I can call another gallery and ask who they trust, which helps me arrange something for a collector even when I’m not there myself. Being part of that network matters. You have people you can ask for help, and you can offer the same support in return. > “I don’t think of other galleries simply as competitors. We can learn from one another, rely on one another’s expertise, and grow together.” > > — Blake Zigrossi ## Recognizing the right fit **When you discover an artist whose work interests you, what happens first?** The first thing is that I like the art. Sometimes that happens immediately. I’ll meet someone, they’ll show me their work, and I’ll think, “I need to work with this artist.” That enthusiasm gives me confidence. When I genuinely believe in the work, it becomes easier to talk about it and present it to a wider audience. I get excited about showing it, and I think collectors can sense that. But liking the work is the beginning. We also have to ask whether we’re the right gallery for it. **What separates work you admire from an artist you can represent?** We have to be honest about what we can do for the artist. We’re a commercial gallery. Much of the work we sell goes into private homes or offices, with some going to institutions. We primarily work with two-dimensional pieces and smaller sculptures. I might be incredibly excited by an artist making site-specific installations. But if that’s their entire practice, we may not be the right gallery to support it. The way that work reaches a market is different. Taking someone on when we don’t have the right market would not be fair to them. That’s something I want artists to understand about rejection: it doesn’t necessarily mean the work isn’t good. It might simply mean the fit isn’t right. There are excellent artists whose work isn’t right for us. **How does the team decide which artists to work with?** It’s a conversation. I’m not making every decision on my own. Someone might discover an artist and bring their work to the team. We’ll talk about what we like, whether it fits the program, and what we think we could do with it. After events like Artist Project, we might compare notes about who caught our attention. We also discover artists through Instagram, and Artsume has become another way to browse artists and see their work. Access to artists’ portfolios has become much easier. That allows us to be more specific about the work we want to show. But the enthusiasm needs to be shared. We’re going to be working together to present that artist’s work. > “There are excellent artists whose work isn’t right for us.” > > — Blake Zigrossi **What does a successful artist–gallery relationship look like?** There needs to be a market for the work, and there needs to be a good working relationship. An organized, prepared artist makes it easier for us to do our job. If we have everything in place ahead of an exhibition, we can prepare the marketing and focus on presenting the work instead of scrambling. Commercial success matters because we don’t want to waste an artist’s time. Preparing for an exhibition can take six months or a year. If we consistently can’t sell the work, we have to recognize that we might not be serving that artist well. Over time, you want the artist to grow with the gallery and the collectors to grow with the artist. There’s also the simple question of whether you enjoy working together. Our artists are hardworking, professional, and committed to their practices. That makes a tremendous difference. **How does that relationship develop over the years?** For artists on our roster, an exhibition might come around every eighteen months to two years. That gives everyone something to work toward and helps us plan a program that makes room for different artists. People work differently. Some artists might send one or two pieces for a group exhibition. Others want to build a larger body of work for a particular show. What matters is that we can rely on one another. The artist is continuing to develop their practice, and we’re continuing to work on getting that practice in front of collectors. **Can extraordinary work overcome an artist who is difficult to work with?** Yes and no. If the work sells very well, there can still be a reason to continue. But there is a point where the trade-off might not be worth it. If a working relationship is constantly difficult, it drains the energy you need to advocate for the work. Scrambling because things aren’t ready, or dealing with someone who is rude, doesn’t create a good environment. Being receptive also matters. We know what tends to work for our gallery, and artists who are willing to listen to that experience often give us a better chance of succeeding together. Ultimately, we like working with people we like working with. That sounds simple, but it matters. [![A long white gallery with a black steel staircase\, a wood\-panelled front desk and large colourful paintings along one wall\.]()](/a/blakezigrossi) The gallery today\, in Toronto’s Junction neighbourhood\. Image supplied by Abbozzo Gallery ## What artists need to show **What do artists sometimes overthink when approaching a gallery?** A strong CV can help, but if the art is really good, the work comes first. An exhibition history is useful, but it isn’t everything. Something I see more often is an artist trying to show us everything they can do: abstraction, realism, figurative work, all kinds of different approaches. A cohesive, specific portfolio is usually much stronger than a demonstration of every technical ability you have. I want to understand the visual language of the work. If a portfolio feels scattered, it becomes harder to understand the practice and what a future exhibition might look like. Rather than casting the widest possible net, research the gallery. Look at what it exhibits, what it specializes in, and where your work might genuinely fit. **How do you balance that desire for consistency with an artist’s creative freedom?** We don’t want to dictate what someone paints or sculpts. We want an artist to create a body of work and have the space to pursue it. At the same time, we need some understanding of what we’re working toward. We can do studio visits and talk about what feels strong, but if everything is moving in completely different directions, it becomes difficult to prepare. There are also practical conversations that aren’t about controlling the work. For example, when we moved into 401 Richmond, we had high ceilings and enormous walls. Artists understandably wanted to paint big. But not every collector has that kind of space at home. Make the large work, absolutely. But having a range of sizes can also create opportunities for younger collectors or people with smaller spaces. > “A cohesive, specific portfolio is usually much stronger than a demonstration of every technical ability you have.” > > — Blake Zigrossi **Can a smaller work make a difference to an exhibition’s momentum?** Definitely. I’ve seen openings where one or two pieces sell, then more people begin making decisions, and suddenly there’s a line at the desk. Sometimes that starts with a very small painting. Those red dots can create momentum. A smaller work isn’t necessarily less important to the exhibition. It might be someone’s first purchase from that artist, or their first original artwork altogether. That’s an example of the kind of practical experience we can bring to the conversation. **Why do some talented artists struggle to build a career?** Sometimes it’s luck. Sometimes it’s timing. The right people see the work, the right collectors begin buying it, or someone writes about it. Other times, the wider environment makes things harder. There are many factors outside an artist’s control. There are also difficult decisions to navigate: choosing the right gallery, finding the right fit, and entering the market at a price that makes sense. Having mentors can help—gallerists, other artists, people who have experience and are willing to share it. For emerging artists, I would suggest staying curious. Ask what’s working for other people. Keep learning and communicating. And be patient. Careers don’t all develop at the same pace. > “I’ve seen openings where one or two pieces sell, then more people begin making decisions, and suddenly there’s a line at the desk.” > > — Blake Zigrossi **How do you approach pricing for an artist without an established market?** It’s probably the hardest part of my job. You want to respect the work the artist has put in, but you also need to understand what collectors are willing to pay. For two-dimensional work, having a consistent relationship between dimensions and price can help. The pricing should make sense across the body of work, so a collector can understand how a smaller piece relates to a larger one. Then there’s the starting point itself. The artist and the gallery have to agree on something we believe we can support. For emerging artists, I often think it’s better to begin at a level where the work has a realistic chance of selling—not too low, but not so high that you’ve put yourself beyond the collectors who are interested in discovering someone early. There isn’t one number that works for everyone. That’s where experience and a good conversation become important. **What happens when prices get ahead of an artist’s career?** Collectors may start asking questions the artist can’t yet answer. What’s the history of sales? What exhibitions have there been? What supports this price? If you begin very high without that history, you can make it harder for collectors to enter your market. A record of sales gives you a basis for increasing prices. If the work is consistently selling, there’s a reason to move upward. Collectors often enjoy growing with an artist. They might begin with a small piece, follow the practice, and come back for another work later. As a collector myself, I understand that feeling. But I buy art because I love it and want to live with it. That connection to the work is still the most important part for me. ## Making the gallery a welcoming place **How has being a gallerist changed the way you collect?** It has made me appreciate the importance of a trusted dealer. I often buy through galleries or art consultants I know and trust. When we exhibit at a fair, I like to look at the other galleries, get to know their programs, and sometimes buy a work from one of them. You’re not only responding to the artwork. You’re also building a relationship with the person helping you buy it. Being on that side of the experience teaches me things. I notice when a gallery feels warm and inviting, how someone answers questions, and what makes the process comfortable. Then I think about how we can create that experience for our own collectors. **What do you say to someone who feels they don’t know enough about art to enter a gallery?** There are no stupid questions when you approach something with curiosity and care. Art is also a visual experience. You can see something, like it, and feel a connection without knowing everything about the artist or the history behind it. Whether you know a little or a lot doesn’t change how the work makes you feel. Galleries can feel intimidating, particularly for people who are new to collecting. I don’t want anyone to feel out of place because they think they don’t know enough. I want people to feel that they belong in the space. **Someone walks into Abbozzo and says, “I’ve never bought art before.” What happens next?** We try to understand what they’re interested in and answer their questions. They might want to know more about the artist, the history of the work, or how the piece was made. They might want to meet the artist. We’re happy to help with that. Being flexible matters too. Sometimes a first-time collector might need to spread a purchase over a few months. The conversation is about making them comfortable and helping them understand what they’re considering. There isn’t one script. You respond to the person and what they need. > “There are no stupid questions when you approach something with curiosity and care.” > > — Blake Zigrossi **And what about someone who simply wants to look?** They’re welcome too. There’s no pressure to buy anything when you come to Abbozzo. If you want to see the exhibition and enjoy the work, we’re happy you’re there. I can’t decide when someone moves from appreciating art to wanting to collect it. That happens for them. Our job is to be ready when they want to have that conversation. Talking about the artwork is one of the most enjoyable parts of my job, whether the person is a collector or not. I get excited about it. That’s part of why I do this. ## Bringing Canadian artists to new audiences **What stood out to you about taking Abbozzo to Future Fair in New York?** The conversations. There were so many collectors, and people came with thoughtful, specific questions. They weren’t always starting with, “Tell me about the artist.” They were often going straight into the heart of the work and the practice. That was fascinating for me and for the artists we brought, [Miles Ingrassia](/a/milesingrassia) and John Vitale. The visitors came from different backgrounds; they weren’t all working in the arts. But there was a level of curiosity and engagement that made the experience really exciting. I’ve felt that enthusiasm in Barcelona too. Those encounters are a big part of what makes international fairs valuable to us. [![Blake Zigrossi and Miles Ingrassia stand together in a fair booth\, in front of Miles\'s paintings of young men\.]()](/a/blakezigrossi) Blake Zigrossi and Miles Ingrassia at Future Fair in New York\. Image supplied by Abbozzo Gallery [![Three figurative paintings in warm oranges and deep blues on white walls show two men drinking wine\, hands with a knife\, and a group outside a shop\.]()](/a/blakezigrossi) Paintings by Miles Ingrassia\, shown by Abbozzo in New York\. Image supplied by Abbozzo Gallery [![Bar Talk]()]() [Bar Talk]() · 2026 By [Miles Ingrassia](/a/milesingrassia) [![Summer Heat]()]() [Summer Heat]() · 2026 By [Miles Ingrassia](/a/milesingrassia) [![Trust Fall]()]() [Trust Fall]() · 2026 By [Miles Ingrassia](/a/milesingrassia) [![Blake Zigrossi and John Vitale look over a large stretched canvas on the floor of John\'s paint\-spattered studio\.]()](/a/blakezigrossi) Blake Zigrossi and John Vitale in John’s studio\, preparing for New York\. Image supplied by Abbozzo Gallery [![A large abstract painting in cream\, blue and green\, beside three small framed abstract works on a concrete column\.]()](/a/blakezigrossi) Paintings by John Vitale\. Image supplied by Abbozzo Gallery **What do you want international audiences to see in Canadian art?** There’s a huge amount of talent here, especially in Toronto. Sometimes there’s a feeling that Canadian art gets associated only with landscape painting. But artists are working in all kinds of contemporary directions, and there’s so much to show. At the same time, why shouldn’t we paint landscapes? The country is beautiful. I love landscape painting. I don’t think we need to dismiss it to make room for everything else. What matters is showing the breadth of what artists are doing. There are galleries here working hard to bring Canadian artists to international audiences, and we want to contribute to that. We have a lot to be proud of. [![Miles Ingrassia\'s figurative paintings and John Vitale\'s abstract paintings hang on either side of a concrete column\.]()](/a/blakezigrossi) Work by Miles Ingrassia and John Vitale in New York\. Image supplied by Abbozzo Gallery **What does showing internationally allow you to do for an artist?** It puts the work in front of new people. An artist’s market can become quite regional. International fairs are one way to move beyond that and introduce the work to collectors who might not otherwise encounter it. That’s part of what we’re trying to do when we go to New York or Barcelona: create more opportunities for the artists and build a wider audience for their work. I think Toronto has an enormous amount of talent that deserves that attention. ## Carrying the gallery forward **After spending so much of your life around art, can a work still stop you in your tracks?** Absolutely. It almost happens too often. When I travel, visiting art museums is always part of the itinerary. But it doesn’t only happen in museums. You can encounter something in all kinds of places that completely surprises you. Seeing new work gives me a sense of renewal and joy. It keeps things fresh. Art breaks up the monotony. It makes my life better. Being able to keep encountering what people make is something I don’t take for granted. > “I want emerging artists to feel Toronto is somewhere they can grow, rather than feeling they have to leave to build a career.” > > — Blake Zigrossi **What would you hope had changed if we spoke again in ten years?** I hope we’re still growing consistently and working hard for our artists. I don’t want to take on more than we can manage. I want to keep finding ways to grow artists’ markets, show their work, and build a stronger international profile. I don’t know exactly what the art market will look like in ten years. So part of the goal is to stay curious, recognize change, and adapt. I also hope more people in Toronto become interested in collecting, especially younger collectors. It has added so much to my life. I want emerging artists to feel Toronto is somewhere they can grow, rather than feeling they have to leave to build a career. I would love Abbozzo to be part of making that possible. **What do you want your contribution to Abbozzo’s story to be?** My mother started the gallery in 1993, a year before I was born. She built it into what it is today, and I want to carry that legacy forward. We have collectors and artists who have been with us for years. I want to find the balance between respecting what the gallery has built and bringing it into the future. That means working with emerging artists who can grow with us, while continuing to support the people who are already part of the gallery. It doesn’t have to happen through giant leaps. It can be small, confident, consistent steps. Most of all, I want people to feel that I cared and did my best for them. I want to stay curious and keep working hard. I’d like the artists to be able to look back and say, “I’m really glad we worked—or continue to work—with Blake.” --- Abbozzo Gallery reviews artist submissions every quarter. If your work is two-dimensional or small sculpture, read Blake's advice on fit above, then send a focused body of work through [Abbozzo Gallery's artist submissions](/programs/28c58a31-9a42-43f1-a272-f201441601f8). For more on preparing that approach, see [how to approach an art gallery](/guides/how-to-approach-an-art-gallery-the-artists-guide-to-professional-outreach), [building a portfolio for galleries](/guides/artist-portfolio-for-galleries), and [how to price your artwork](/guides/how-to-price-your-artwork).