This gallery shows contemporary art over a pint and pool

As exhibiting, accessing, owning and even creating contemporary art becomes increasingly unattainable, especially for Northern and working-class artists, new ways of sharing work are urgently needed. Yet with this growing problem comes opportunity: the chance to rethink where art belongs, who it’s for, and how it’s experienced.

Tucked away on the top floor of The Brunswick pub, Frontier Gallery offers an informal, welcoming alternative to the traditional white-cube gallery. Here, ambitious and experimental work is encountered in a relaxed, social setting, where art becomes part of everyday life rather than something set apart from it. Founded by artist Jim Brook, Frontier is a place for artists to take creative risks and reach audiences who might not usually step inside a gallery, bringing contemporary art into the social spaces where culture naturally thrives.

In this interview, Brook discusses how the gallery began, the opportunities and challenges of its unique setting, the first exhibition, and the vision for shaping a more open, experimental art scene in the city.

Let’s get started with the inspiration behind creating Frontier Gallery…

Frontier Gallery began almost serendipitously, I was offered the space and instinctively said yes. I’ve always wanted to run a small, artist-focused gallery, so the opportunity felt too meaningful to ignore. What emerged from that moment was a chance to create something Leeds doesn’t currently have enough of: a truly accessible, informal, and community-rooted space where contemporary art can be encountered outside traditional white-cube environments. 

Frontier fills the gap between grassroots creativity and more formal institutional settings, offering artists space to experiment while reaching audiences who might never actively seek out an exhibition but are open to engaging with art in their everyday social surroundings.

Frontier Gallery has a non-traditional setting, tucked away on the top floor of the Brunswick. How did the idea of hosting a gallery within a pub come about?

Frontier Gallery exists precisely because of its unconventional setting. 

Situated on the top floor of The Brunswick, a much loved Leeds city centre pub, the gallery uses the character of the building to challenge expectations of where art should be seen. The idea grew organically from the space itself: it offered the intimacy, informality, and social energy that felt perfect for showcasing work in new ways.

Exhibiting within a pub allows artists to connect with audiences who might not typically step into a gallery, inviting people to encounter art over a pint rather than under spotlights.

The name “Frontier” is a nod to The Frontier Club, formerly the Batley Variety Club, a legendary West Yorkshire venue that once hosted performers like Louis Armstrong, Shirley Bassey and Roy Orbison. That reference reflects the spirit of the gallery, a place where culture, community, nightlife, and creativity intersect. Like its namesake, Frontier is about bringing people together and celebrating the social spaces where culture really happens.

What do you think the unconventional location adds to the experience of viewing art?

The unconventional setting completely reshapes how people encounter the work. By situating the gallery above a busy pub, the experience becomes more relaxed, more social, and ultimately more open. Visitors aren’t arriving with the same expectations or pressures that can come with traditional gallery environments, instead they come with curiosity, often stumbling upon the exhibition naturally.

This setting breaks down barriers for audiences who might feel intimidated by formal art spaces, while also giving artists the opportunity to show their work in a context that feels lived in and connected to real everyday culture. The energy of the pub below, the history of the building, and the sense of community that surrounds it all contribute to an atmosphere where the work can be seen differently, with more immediacy, more honesty, and often with conversations sparked in ways that wouldn’t happen elsewhere.

How has the Leeds community responded so far to the idea of a gallery in this kind of space?

Our first exhibition, In Memoriam by Sam Horton,  a powerful reflection on collective anxiety, mediated imagery, and our cultural proximity to crisis, demonstrated how well ambitious, conceptually driven work can resonate in an unconventional setting. Visitors were struck not only by the intensity and relevance of the exhibition itself, but also by the experience of encountering it on the top floor of a pub, where the atmosphere felt open, unpretentious, and genuinely accessible.

People who might not typically seek out contemporary art found themselves spending time with the work, while others visited specifically because they were intrigued by the idea of a gallery operating in a social space. That mix of audiences, regulars from The Brunswick, artists, students, and people from the wider Leeds cultural community created an energy that felt very specific to Frontier.

Artists have responded positively too, seeing In Memoriam as proof that non-traditional venues can support thoughtful exhibitions without losing their informality. The success of the first show has already started to build a sense of community around the gallery, reinforcing that Leeds is genuinely ready for alternative, accessible art spaces that bring culture into the places people already inhabit.

What challenges have you faced in running a gallery in a venue like the Brunswick, and how have you adapted?

Running a gallery inside a working pub brings practical challenges, mainly around the lack of traditional gallery infrastructure and the need to work within a busy, social environment. 

Instead of fighting those limitations, I’ve adapted by treating them as creative parameters, each exhibition will be installed differently, responding to the quirks of the space rather than trying to override them.

Coordinating with the pub’s schedule and atmosphere also requires careful planning, but strong communication with The Brunswick team has made it a collaborative process. Ultimately, the challenges have helped shape Frontier’s identity: a flexible, accessible space that embraces its setting rather than trying to imitate a white-cube gallery.

What kinds of artists or exhibitions are you hoping to platform at Frontier Gallery?

I’ve programmed the next seven to eight months with artists who are all based in, or originally from, the North of England. They work across a range of mediums, but what connects them is that I’ve followed their practices closely, they’re people whose work I admire, who have shaped my own thinking, or whose growth I’ve watched over the years.

A big motivation behind Frontier is addressing a gap I feel personally: I often struggle with traditional exhibition openings, and I don’t always see work in Leeds that aligns with my own tastes, with the exception of places like Village Books/Gallery. Frontier is, in many ways, a response to that, a space shaped by what I believe deserves to be seen here, and by the artists whose voices and approaches feel vital, ambitious, and underrepresented in the city.

Do you see Frontier as a space for emerging artists, experimental work, community-focused projects, or something completely different?

Frontier is all of those things and more. The gallery provides a platform for emerging and mid-career artists, particularly from the North of England, while also embracing experimental practices that might not fit into more traditional spaces. At the same time, its location within a pub naturally encourages community engagement, creating opportunities for people who might not normally visit a gallery to encounter contemporary art.

Ultimately, Frontier isn’t defined by a single category, it’s about flexibility, curiosity, and connection. It’s a space where artists can take risks, audiences can discover work in an informal setting, and people can find something new.

How do you approach selecting artists or curating shows for the space?

My approach is personal and practice led. I select artists whose work I’ve followed closely, whose processes I admire, or whose practice has influenced my own. I’m interested in work that challenges or excites me.

Curating for Frontier is about responding to the unique qualities of the space. Each exhibition is considered in dialogue with the gallery’s environment, encouraging experimentation while creating a sense of accessibility for a diverse audience who may not have any interest in art.

What drew you to Sam Horton’s work for the first show?

I’ve worked with Sam in the past, and we recently bumped into each other on the streets of Manchester. When I asked what he was working on, he mentioned he was ready to focus on a solo show. As soon as I secured the Frontier space, he was the first artist who came to mind to launch the gallery. His work feels vital, ambitious, and perfectly suited to the ethos of Frontier, making him the ideal choice for our opening exhibition.

How does Sam Horton’s exhibition reflect the type of programming you want to show at Frontier?

Sam Horton’s exhibition embodies the qualities that define Frontier’s programming: ambitious, thoughtful, and visually and conceptually engaging work that challenges expectations. His show demonstrates how the gallery can support artists in presenting work that is experimental yet accessible, and meaningful in both content and context. It reflects Frontier’s mission to provide a platform for Northern artists whose practice is distinctive, impactful, and deserving of wider attention, while also inviting audiences to experience art in an informal, approachable setting.

What are your hopes for the gallery over the next couple of years? How would you describe the long-term role you want Frontier Gallery to play in Leeds’ creative scene?

I’d like Frontier to evolve into a space with its own identity, potentially including a couple of studios for artists, but for now, I’m focused on seeing how the next year unfolds. My hope is that the gallery continues to provide a platform for Northern artists and experimental work, fostering a community where audiences and creators can connect in an informal, accessible environment.

Long-term, I’d like Frontier to become a recognized part of Leeds’ creative scene, a place that supports emerging and established artists alike, encourages risk-taking, and contributes to the city’s cultural life by showing work that reflects both local talent and the social spaces where culture genuinely happens.

Cheers, Jim!

It’s clear that this space is shaped not by convention, but by curiosity, connection, and the lived realities of experiencing art in the North. By embracing the quirks of its pub-top setting and prioritising artists whose practices he deeply values, Brook is not only creating a physical space, but also a community around art that is open, ambitious, and genuinely accessible. If Frontier’s early momentum is anything to go by, it stands poised to become a vital site for experimentation, conversation, and the kind of cultural encounters that happen not under the glare of spotlights, but in the warmth of everyday northern life.

Next up at Frontier Gallery is In the Land of Giants, a photographic exhibition by Becky Pearey exploring the mythic landscapes of the Isle of Skye, where mountains emerge as living archives of folklore, memory, and belief—bringing ancient narratives into the gallery’s informal, lived-in setting.

You can keep up to date with The Frontier Gallery here.