Aindrea Emelife is a 23-year-old art critic, independent curator, and presenter from London. She has always been compelled by the art world and has established her own unique voice within it.
Starting at The Courtauld Institute of Art, where she completed a BA in History of Art, she has quickly gone on to become a ground-breaking new voice in an art world otherwise steeped in tradition. Having already presented art films for such prestigious institutions as The Royal Academy of Arts, The Hepworth Wakefield Museum, The Dairy Art Centre, The Courtauld Gallery, Waldemar Januszczak and ZCZ Productions, she also looks forward to some huge projects on the horizon and soon to be announced. Aindrea is set to become one of the leading on-screen voices for the art world now.
While dedicating her time to the development of her first art documentary for television, Aindrea is simultaneously contributing to several exhibitions through both curation and academic writings such as her recent catalogue essay for the Zabludowicz Collection’s latest publication: Keith Tyson, Large Field Array.
This year, Aindrea sits on the judging panel for the Ashurst Emerging Artists Prize, as part of her ongoing commitment to supporting the next generation of artistic talent. For more information CLICK HERE.
We talk to Aindrea about Art, her lifestyle and futture ambitions…
What is your earliest memory of Art?
My primary school often took us on trips to galleries and museums around London, so I guess many shared my first memory. Walking hand in hand with my peers, looking at the grand Dutch Masters paintings in The Wallace Collection or skipping through the Impressionists at The National Gallery.
Where do you get your inspiration?
From the people around me… I surround myself with such amazing and inspiring individuals who are all bossing it in so many different creative fields and making it happen. It’s great to collaborate with them on things, or just give each other power pep talks when hanging out.
Do you feel as if there is enough representation for Female Artists in mainstream galleries these days?
It’s getting better. The past two artists to do The English Pavilion at The Venice Biennale were female, but then again this year Blenheim Palace’s Contemporary Output are just having their first female artist host this – Jenny Holzer. We are certainly standing our ground.
As a 23-year-old success story, what advice would you give to young Art Critics/Presenters who are just starting their career?
Just do it. I mean, that’s the Nike slogan but it’s really very true. I only ever get anywhere by chasing my dream. Hard.
Where is your favorite place to go out in London?
When I’m not at Soho House (my office, my home) or letting my hair down at The Box, you will find me at Tramp on Jermyn St or The Scotch of St James.
What are you working on at the moment?
I’m currently the Art Editor of Phoenix Magazine Digital. But when I’m not doing that I’m hatching up plans for Summer. My current focus is a curation project I hope to realize later this year and a few short films.
Could you recommend any interesting shows that are taking place right now?
Athena Papadopoulos has a show ‘SMURFETTE’ at Emalin Gallery in Shoreditch, which is such a dream. I’m also very excited to see the exhibition ‘SPACE AGE’ at The Galerie Thaddaeus Ropac, in Ely House. Do watch out for the upcoming Bold Tendencies Programme based at Franks Cafe that opens very soon – a Peckham rooftop turned into a Summer art haven; I’m very excited!
What was the last thing that really made you stop and stare?
I love staring at people from inside of a taxi. It probably looks creepy from the outside, but I love watching time and lives go by, looking at people and making them characters in my own little story. Being lost in reverie is a luxury to me.