INDUSTRY ENGAGEMENT: Interview with Karen Ghostlaw - my business partner, Director and CEO of THE PICTORIAL LIST INC.
- Apr 4
- 14 min read
Updated: Apr 8
How would you describe our working relationship and the way we collaborate across The Pictorial List and The Pictorial Foundation?
From the very beginning of our working relationship, there was a mutual understanding that we were there to support one another. Any comment, edit, observation, or suggestion was never approached as criticism, but as a way to strengthen what we were working to achieve. That created a level of trust that felt rare, and something I was naturally drawn to.
Our goals have always been aligned. They have grown naturally through the work we have done together and through the artists we have supported, always allowing doors to open, not close. We are constantly thinking about how much more we could do to achieve those goals at a more significant level, continuing to explore new ideas while diligently working to create new opportunities.
It became a space driven by shared intention, where we were always pushing toward a higher standard, not only for ourselves, but for the artists we work with. There is a genuine care and respect that becomes a shared philosophy, forming the framework that supports our mission.
What do you see as our strongest complementary skills when working together, even though we live so far away from each other?
Even though we live on opposite sides of the world, our strengths complement each other in a very natural way. My role is centered around outreach, communication, and maintaining personal connections with artists, sponsors, and the community. I tend to work on the relational side of what we do, making sure those connections remain strong and meaningful.
There is, at times, an overlap in what we each take on, but that fluidity has become part of how we work. Melanie brings an incredible strength to the technical and structural side. She is the queen of formatting and the tech end of our efforts, building and maintaining the framework that holds everything together. In many ways, she is the backbone, the skeleton, and the musculature — a well-oiled machine of sorts. She is also a brilliant writer.
We wear multiple hats, stepping in to support one another when needed. There is an unconditional care, respect, and admiration that makes this possible.
Working on opposite sides of the globe, in different hemispheres, you would think would be very difficult. On the contrary, with the 14–16 hour difference in time, we keep the engine running 24 hours a day, one handing off to the other.
How do we generally navigate decision-making and creative differences within the organisation? And, on a slightly more honest note, how do you personally navigate working with me when I get a bit too bossy or… let’s say, overly enthusiastic about my ideas?
I love this question. We live on different continents, come from different cultures, and while we often agree on most things, there are times when we don’t — and that is actually a really important part of how we work. Those moments challenge us. They push us to think more carefully, to consider other perspectives, and to find new solutions. Sometimes that means compromise, and other times it comes down to trust. Trusting each other enough to listen without prejudice and to remain open.
That process makes us better, not only as directors, but as people. It strengthens the skills we need to do this work within the diverse communities we represent and support.
We are also very aware of each other’s triggers. There is no judgment. Instead, we try to navigate those moments thoughtfully, especially when decisions feel more complex or carry more weight. We always talk things through, taking the time to come back to center, setting aside our personalities, and focusing on the goal. We know that together we are stronger.
And on a more honest note, when we get a bit too enthusiastic or push an idea a little harder than we should, there is enough trust between us to recognize it, pause, and recalibrate. I also understand that when Mel comes across as a bit bossy, it is often simply a reflection of being overwhelmed with the amount of work we carry, I do the same at times. In those moments, my instinct is to support her, to help bring things back to center. That same care and respect is extended to me.
When she gives direction, I welcome it. That is part of the trust and respect we share. I always have what I call my “Big Girl Mel Pants” close by, I put them on when I need that strength and confidence. They are my favorite in my wardrobe, like a Wonder Woman cape, something powerful to step into when needed.
We know each other well. We often finish each other’s sentences, sometimes even typing at the same time and pressing send, only to realize we have said the exact same thing. Because of that, I understand what she is saying and don’t read into how she is saying it. That clarity allows us to move through moments quickly, without unnecessary friction.
At times, we will research further, provide context, or explain our reasoning more clearly, not to convince, but to understand and be understood. Even in moments of tension, there is a foundation of respect and trust that allows us to move forward.
How has since starting the not for profit The Pictorial List Inc shaped your understanding of the art industry?
Starting the not-for-profit The Pictorial List Inc. has deepened my understanding of how much dedication and commitment this work truly requires. There are so many roles to take on, and you have to learn how to wear many hats, and wear them well, just to sustain and propel the work. It’s not only about the creative side, but the structure, the communication, the responsibility, and the consistency it takes to keep everything in motion.
At the same time, it has confirmed for me that we chose the right direction. I see a great deal of hope and possibility in what we are building. It feels important to take a stand, to support artists in a way that is genuine, and to create a real sense of community — an artist-driven initiative that prioritizes connection, exchange, and care.
The world feels heavy at times, with so much negativity, distrust, and a loss of simple human connection. What we are trying to build is something different. A space where dialogue matters, where critique is understood as a thoughtful and creative exchange, not as criticism meant to diminish. That distinction is important.
More than anything, it has made me step up. To take responsibility for the role we are playing, and to meet it with clarity, strength, and intention.
What have you learned about artists’ needs through interviewing and working with them?
What I have learned is that every artist’s needs are different. It requires sensitivity and respect, not stepping in and taking over, but allowing them to grow through the process in their own way.
Some artists need confidence. Some need help shaping dialogue and building a narrative around their visual storytelling. Others need support with curation, how to bring their ideas together and present their images in a way that tells the story clearly and with intention. And some need very little at all, and we are simply there to recognize their accomplishments and share their work.
For me, this has created a deeper awareness of how to navigate and support these needs with authenticity, with thoughtfulness, and with care and experience. The artists have also taught me a great deal. They have shown me new ways of seeing, new ways of telling stories, and how to approach the work of others with respect.
It has reinforced the importance of receiving the gift of their voice, not shaping it into your own, but helping to hold space for it to be heard as it is.
What do you think we are building together through The Pictorial Foundation?
What we are building through The Pictorial Foundation is something that feels both necessary and long overdue. It is not just a space to show work, but a space that actively supports artists in meaningful ways. Through exhibitions, the magazine, workshops, and the resources we are developing, we are creating an environment where artists can grow, be seen, and be understood.
It is also about building a community based on trust, respect, and care. A place where artists are not taken advantage of but supported. Where dialogue matters, and where there is a genuine exchange of ideas. We are creating something that feels human, where people feel connected, and where their work is treated with the attention it deserves.
At the same time, we are building something that connects beyond one place. With Newburgh as a point of connection, we are linking our local community with an international network of artists, creating opportunities for exchange, visibility, and support in both directions. It is not only about reaching outward, but also about bringing those perspectives back, allowing for a continuous exchange of ideas across cultures, experiences, and ways of working. This exchange happens on multiple levels, through conversation, exhibitions, editorial work, and the relationships we build. Artists are not only sharing their work, but also their ways of thinking, their processes, and their understanding of the world. That dialogue strengthens the work itself and the community we are building, allowing us to move beyond geographic boundaries and continue growing through what we learn from one another.
For me, it feels like we are building a foundation that artists can rely on. Not only for opportunities, but for guidance, for conversation, and for a sense of belonging. Something that continues to grow through the work itself and through the people who become part of it.
How do you see the role of artist-led platforms evolving in the future?
I see artist led platforms continuing to grow in ways that are more responsive and supportive to the needs of artists. It is not only about creating opportunities, but about building programming that is thoughtful, sustainable, and able to evolve over time. Taking what we know works, what has been meaningful and successful, and expanding on it in ways that reach further and support more artists.
For us, that means continuing to develop programming that is not fixed, but adaptable. Expanding workshops, exhibitions, and editorial work into something that can exist across locations and communities, while still maintaining the same level of care and intention. This also includes publishing, continuing with The Pictorial List Volume Two and other books, as well as developing a quarterly or bi yearly newspaper that extends our editorial voice into a more immediate and accessible format.
I can see this growing into multiple locations, creating stronger connections between them. The possibility of having the Pictorial Foundation in Newburgh, New York and in Newcastle, Australia is something I can truly imagine. Not as separate entities, but as connected spaces that support one another, share artists, ideas, and opportunities, and create a continuous exchange across continents.
This also opens the door to expanded programming, including artist residencies, workshops, and exhibitions across multiple cities around the world, as we build relationships with other not for profit organizations that share a similar mission. Through these connections, we can collaborate on meaningful projects, creating opportunities that extend beyond any one location and allow artists to engage with new communities and perspectives.
That kind of expansion allows for a broader reach, but also a deeper one, where artists are supported within their own communities while also being connected to something larger. It becomes a network built through trust, collaboration, and shared purpose.
What does a sustainable model for supporting artists look like to you?
Putting on my big girl Mel pants for this one, a sustainable model for supporting artists has to be built on both care and structure. It cannot rely on one stream of support or one moment of opportunity. It has to be something that is ongoing, thoughtful, and able to grow over time.
For me, that means creating multiple points of support. Exhibitions, publications, workshops, residencies, and opportunities that continue to build on one another. It also means developing partnerships, sponsorships, and funding that allow artists to be supported without placing the burden back onto them, while working collaboratively with other not for profit organizations that share the same mission, creating a network of support that extends beyond any one space.
Sustainability also comes from trust. Artists need to know that they are entering a space where their work is respected, where they are not being taken advantage of, and where there is a genuine commitment to their growth. That kind of environment takes consistency, transparency, and a willingness to do the work behind the scenes.
At the same time, it has to remain flexible. Artists have different needs, and a sustainable model has to be able to respond to that, offering guidance, visibility, and support in ways that are meaningful to each individual.
And being honest, sustainability also means that one day we are able to be compensated for the work we do. That is part of building something that can truly last, not only for the artists we support, but for those doing the work to support them.
Ultimately, it is about creating something that continues to give back to the artists who are part of it, not just once, but over time. A structure that holds, supports, and evolves, allowing artists to grow while also strengthening the community around them, and in turn, supporting the very foundation that makes that growth possible.
How important do you think it is for artists to be paid for exhibitions and opportunities?
I think it is incredibly important, and it is something I would love to see become more of a standard in the industry. It is also something we are mindful of as we continue to grow the foundation, and something we hope to build toward in a thoughtful and realistic way.
As an international exhibiting artist myself, I know firsthand how much it costs to create, promote, and exhibit work, whether locally, nationally, or internationally. The financial weight of it can be overwhelming and, at times, difficult to sustain. There is so much time, energy, and personal investment that goes into the work long before it is ever seen.
We all deserve to be compensated for the work we do, the work we share, and the work we create. It should not rely solely on the possibility of a sale. The act of creating, preparing, and exhibiting work carries value in itself, and that should be recognized.
Compensation is not only about financial support, it is also about respect. It acknowledges the time, the commitment, and the contribution artists make to the cultural landscape. When artists are supported in this way, it allows them to continue their work, to grow, and to contribute more fully without constantly carrying the burden alone.
For me, this is something we need to continue working toward. Creating models and opportunities where artists are not only given visibility but are also valued in a way that is sustainable and fair.
What impact do you think this could have on the wider art industry?
Good thing I still have those Mel pants on for this one. I think the impact could be meaningful if we stay true to what we are building. Not trying to compete with what already exists, but offering something that is grounded in care, respect, and real support for artists.
You plant a seed, you get a flower. You spread those seeds, you cultivate a garden. That is how I see this growing. One artist, one opportunity, one connection at a time, and then it expands. What begins as something small and intentional has the ability to grow into something much larger, something shared.
If artist led platforms continue to grow in this way, it can begin to shift expectations. Moving away from systems where artists are expected to give so much without support, toward models that value their time, their work, and their contribution.
It also has the potential to reconnect parts of the industry that feel disconnected. Bringing back dialogue, thoughtful exchange, and a sense of community. And as we continue to build connections across communities and countries, sharing ideas, opportunities, and resources, that impact continues to spread.
For me, it is about contributing to that growth. Not forcing change but nurturing it. Allowing it to take hold, expand, and support more artists along the way.
What does “going global” mean to you in the context of our work?
Going global, to me, means reaching more people, making more connections, opening more doors, and creating more opportunities and possibilities.
It is about extending what we are already doing and allowing it to connect across different places, cultures, and communities. Not just sharing work, but sharing ideas, perspectives, and ways of working that can influence and inspire one another.
It also means creating a network where artists are not limited by geography. Where someone in one part of the world can be seen, supported, and connected to opportunities in another. That exchange is important. It allows for growth, for understanding, and for a broader sense of community.
At the same time, it is not about losing where we started. It is about strengthening those connections by bringing them back into the spaces we are building, allowing both local and international communities to learn from each other.
For me, going global is about expansion with intention. Continuing to build something that remains grounded in care and respect, while creating more opportunities for artists to be seen, supported, and connected in meaningful ways.
Explain how we create opportunities that are accessible to artists internationally?
I am certainly no expert at this. I am learning as I go and being inspired along the way. I rely on others who have already found ways to do this well. I look at what has been successful, I learn from it, and I hope to do the same in a way that feels true to what we are building.
For us, creating opportunities that are accessible internationally begins with openness. Keeping our calls, our exhibitions, and our editorial work available to artists regardless of their location or economic status. Making sure the process is clear, approachable, and not limited by unnecessary barriers.
It also means thinking about access in a broader way. Not just physical access, but financial, informational, and communicative. Being mindful of costs, being transparent in how we operate, and creating opportunities that do not place unnecessary barriers on artists who want to participate. We are also beginning to offer printing services through the foundation, alongside digital representation, helping artists bring their work into both physical and online spaces. As we grow, we would like to expand this further, finding ways to support and sponsor artists internationally to bring their work here, while also creating opportunities to bring our community into a broader global context.
A big part of this comes through connection. Building relationships with artists and organizations across different countries, learning from them, and working together where we can. That exchange helps us understand what is needed, and how to better support artists in different contexts.
Part of my belief in this comes from the trust and commitment I share with my partner. I never feel like I am doing this alone. As we continue to grow, bringing in board members, foundation members, staff, and volunteers, I see this becoming a collective effort where everyone contributes to achieving these goals.
We are already an international team, and we have always thought beyond borders. As we continue to expand our outreach and strengthen our connections, that diversity will continue to grow. I truly believe this will happen through the commitment, trust, and shared effort of the people who are part of it.
I am still learning, and that is part of the process. But I am paying attention, listening, and working to build something that is truly accessible, where artists feel supported, respected, and able to participate without unnecessary barriers.
References: Ghostlaw, K 2026, Karen Ghostlaw, viewed 4 April 2026, <https://karenghostlaw.com>.
Pictorial Foundation 2026, Pictorial Foundation, viewed 4 April 2026, <https://www.pictorialfoundation.org>.
The Pictorial List Inc. 2026, The Pictorial List, viewed 4 April 2026, <https://www.thepictorial-list.com>.
