Gabrielle du Plooy stands at a distinctive point in the contemporary art world, working across gallery leadership, curation, artist development and advocacy. As director of Zebra One Gallery, a family-founded gallery established by her father in 1976, she has inherited a legacy built on trust, relationships and a long-standing commitment to artists, while reshaping its direction for a contemporary audience.
Her work extends beyond the gallery through her role with the Women in Art Prize, where she has focused on creating meaningful visibility and opportunity for women artists. Rather than treating representation as a symbolic gesture, du Plooy approaches it as a sustained form of support, building platforms that connect artists with collectors, curators, press exposure, mentorship and a wider professional community.
In this interview, du Plooy reflects on the responsibility of carrying forward Zebra One Gallery’s legacy, the changing role of independent galleries, and the importance of nurturing artists over time. She also discusses the Women in Art Prize, the continuing need for structural change within the art world, and how visibility, integrity and long-term opportunity can help shape a more inclusive cultural future.
Zebra One Gallery was founded by your father in 1976. What has it meant to take on that legacy, and how have you shaped the gallery’s direction for a contemporary audience?
Taking on Zebra One Gallery has been both a privilege and a responsibility. I grew up immersed in the gallery world, surrounded by artists and creative dialogue, so the gallery has always felt deeply personal to me. My father built Zebra One on trust, relationships and a genuine commitment to artists, and preserving that ethos has remained central to everything I do.
At the same time, galleries have to evolve alongside the world around them. I’ve worked to shape the programme in a way that feels relevant to contemporary audiences by embracing a broader range of voices, encouraging more cross-disciplinary conversations, and creating opportunities for artists whose practices reflect the complexities of today’s cultural landscape. It’s about respecting the gallery’s history while ensuring it continues to move forward.
The gallery landscape has shifted significantly in recent years. Where do you see the biggest challenges, and opportunities, for independent galleries today?
Independent galleries are navigating a very different environment today. The pace of the market, the rise of digital platforms, and the increasing pressure of operating costs have all changed the way galleries function. There’s also a growing expectation for galleries to do far more than simply exhibit and sell work audiences now look for engagement, dialogue and community.
That said, I think independent galleries have a unique strength in their ability to remain agile and deeply personal. We can take risks, nurture emerging artists over time, and build authentic relationships with collectors in a way that larger structures often can’t. There’s an increasing appetite for thoughtful, curated experiences, and I think that creates real opportunities for galleries with a strong identity and vision.
Your role sits between curation, representation and artist development. How do you balance those responsibilities when shaping the gallery’s programme?
For me, those responsibilities naturally overlap. Curating an exhibition isn’t just about presenting works beautifully; it’s about creating context for an artist’s practice and helping audiences engage with the work in a meaningful way.
When shaping the programme, I’m always thinking about the long-term development of the artist as well as the integrity of the exhibition itself. Representation involves advocacy, guidance and strategic thinking, while curation allows you to frame the broader conversation around the work. The balance comes from staying artist-focused while also considering how each exhibition contributes to the gallery’s wider identity and dialogue.
Zebra One often works closely with artists over time. What do you look for when deciding to support an artist beyond a single exhibition?
Long-term relationships are incredibly important to me because meaningful careers are built over time, not through isolated moments. Of course the quality and originality of the work matter enormously, but I also look for commitment, consistency and a willingness to evolve.
I’m interested in artists who are deeply engaged with their practice and open to growth – creatively, professionally and conceptually. There also has to be a sense of mutual trust and shared ambition. A gallery relationship works best when it feels collaborative, where both sides are invested in building something sustainable and lasting together.
You took on the Women in Art Prize a few years ago. What drew you to the Prize, and how have you approached shaping its direction since?
What drew me to the Prize was the opportunity to create genuine visibility and opportunity for women artists. Although there has been progress in recent years, many structural imbalances still exist within the art world, particularly around representation and recognition.
Since becoming involved, I’ve focused on ensuring the Prize feels meaningful and impactful rather than purely symbolic. That’s meant strengthening the opportunities available to finalists, expanding professional exposure, and creating a platform that supports artistic excellence while fostering dialogue and connection within the wider creative community.
There has been increasing focus on representation within the art world. How do you approach shaping the Women in Art Prize in a way that feels both relevant and genuinely supportive to artists today?
For me, representation has to move beyond visibility alone. It’s about creating opportunities that are genuinely valuable and building environments where artists feel supported, respected and understood.
With the Women in Art Prize, I’ve tried to approach this through inclusivity, transparency and a strong focus on artistic integrity. We want to celebrate a wide range of perspectives and practices while remaining responsive to the realities artists are facing today. The most important thing is ensuring that support feels authentic and sustained rather than performative.
Beyond the award itself, how do you think platforms like the Women in Art Prize can best contribute to artists’ longer-term development and visibility?
Awards can be incredibly valuable catalysts, but long-term development requires ongoing support and continued visibility. I think platforms like the Women in Art Prize are most effective when they help artists build networks and create opportunities that extend well beyond the award itself.
That might mean introductions to collectors and curators, future exhibition opportunities, mentorship, press exposure or simply becoming part of a wider professional community. Sustained visibility and connection are often what enable artists to continue developing their practice with confidence.
Running both a gallery and a prize places you in a unique position within the ecosystem. How do you navigate the balance between supporting artists’ development and the commercial realities of sustaining a gallery?
It’s definitely a balancing act, but I don’t see artistic support and commercial sustainability as opposing forces. In many ways, they rely on one another. A gallery can only continue championing artists if it remains sustainable, and collectors are often drawn to programmes that feel authentic, thoughtful and genuinely invested in artists’ careers.
My approach has always been relationship-driven and long-term. When you support artists with integrity and build trust with collectors, you create a stronger and more sustainable ecosystem for everyone involved.
As the market becomes more global and increasingly digital, how is Zebra One Gallery evolving its approach to collectors and audiences?
The way audiences discover and engage with art has changed dramatically, particularly through digital platforms and global access. For Zebra One, evolving has meant embracing those tools while still preserving the personal relationships that are at the heart of the gallery experience.
We’ve expanded our digital presence and international reach, but I still believe that connection and dialogue remain essential. Whether someone encounters an artist online or in the gallery space itself, the goal is always to create meaningful engagement with the work. Technology has broadened access enormously, but the emotional and human side of collecting and experiencing art remains just as important as ever.
For more information, visit Zebra One Gallery and Women In Art Prize
Submissions are open until 21st June
