There’s a certain type of person who seems destined for the art world, not because they set out with a ten-year plan, but simply because their intuition pulled them in that direction and refused to let go. Lydia Cowpertwait sits firmly in this camp, though her journey from a high school darkroom to the helm of Sanderson has been anything but linear.
Born in the UK, Lydia Cowpertwait grew up in Aotearoa, and discovered her love for art by accident. “I didn’t enjoy my fifth form year at high school at all, and quickly realised I had taken all of the wrong subjects,” she recalls. “So in sixth form, I requested to study art and design, and despite having not studied it prior, they let me in. If they hadn’t, I honestly don’t know where I’d be today.” Photography was her first love, and it was then that a creative spark was lit. Elam School of Fine Arts was the only tertiary institution she wanted to attend, and when she got in, her future was set in motion.
After graduation, she returned to London to complete a masters. She ran her first gallery at just 27, completed a curatorial internship at the esteemed Whitechapel Gallery, and, in what she describes as her career highlight thus far, co-curated a landmark all-women artists exhibition with American collector and curator Marcelle Joseph. “The exhibition showcased over one hundred contemporary artworks made by women artists, and represented the art collections of six prominent female collectors from London, Europe, and North America,” she tells me. “The response and attendance was overwhelming, and we were supported by figures like Iwona Blazwick and Sacha Craddock. It was a real privilege.”
Fast forward to 2023, and a serendipitous opportunity saw her take ownership of Sanderson, after managing the gallery for nearly two years prior. “It felt meant to be. I was already at the helm, and I felt ready for the next step.” She acknowledges the legacy she’s inherited with a quiet reverence. “It’s a privilege and a responsibility. I’ve tried to keep a balance of showing respect to the way things have been, while fostering changes that will help the gallery to grow and embrace the future.”
“I’m drawn to artists who are truly passionate about their practice — those with a real authenticity to what they’re making.”
That includes a refreshed identity, as well as a renewed energy around artist representation. Sanderson currently has a stable of 25 artists, alongside annual emerging artist showcases and guest exhibitions. “I’m drawn to artists who are truly passionate about their practice — those with a real authenticity to what they’re making,” she says. “I believe that art is a vehicle that can create change and help people to think differently. I will always want to share art that makes me feel something and moves me in some way.”
This September, she’s taking Sanderson to the Sydney Contemporary art fair, with a presentation that feels like a statement of intent: fresh, dynamic, and considered. “We’re taking four artists — Kate van der Drift, Ray Haydon, Loren Marks, and Kāryn Taylor. Each of these artists offers something unique, and all of the works will be either new or unseen.”
When asked for advice on works or artists to invest in now, she lights up, “We have two great young female artists showcasing at the moment: Molly Timmins and Hanna Shim. “Timmins’ paintings are beautiful abstract renderings of plants and gardens, and Shim’s works are playful, soft sculptural works exploring working in a corporate environment. We’re also excited about Loren Marks — her dream-like, vivid paintings are both figurative and abstract.” You get the sense that it’s never just about the work on the wall for her, but a belief in and reverence for the people making it.
And in a world where people often overstate their ambitions, her quiet clarity is refreshing. She believes in the slow build, the long view, and the emotional impact of a single artwork well-placed. Sanderson may have 20 years behind it, but in her hands, its next chapter feels thrillingly wide open.
