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ZuCot Gallery — Follow-Up Sequence

Target: ZuCot Gallery — 100 Centennial Olympic Park Drive SW, Atlanta GA 30313 (Castleberry Hill). Largest African American-owned fine art gallery in the Southeast, 3,500 sq ft.

Contact: Onaje Henderson, Managing Partner (runs the digital/tech side). Top-level alternate: Troy Taylor (Founding Partner + Owner). Labeled third: Omari J. Henderson (Partner).

Channel: Email info@zucotgallery.com (general inbox — no direct staff email published). Alternate: Instagram DM @zucotgallery.

Source first-touch: registry/leads/drafts/zucot-gallery-outreach.md

Source row: targets.md F4

Generated: 2026-09-20 (night-shift)

Assumes: no reply to the first touch (the free 60–90 second piece offer)

Register: commercial fine-art gallery whose business is selling and promoting living Black artists' work, plus event/space rental. Artwork-and-artist storytelling, collector/patron communication, and event-recap content — not a nonprofit register, not a hard sales push.

Flags — read before sending

1. Channel is email. info@zucotgallery.com, addressed to Onaje Henderson. No direct staff email is published; the site routes through the general inbox. If Brandyn prefers top-level, swap the greeting to Troy Taylor. Keep Omari J. Henderson labeled as Partner if he ever comes up.

2. Alternate channel: Instagram DM @zucotgallery (labeled variant below). Pick one channel per touch — do not triple-send.

3. Do not imply ZuCot is a client. It's a cold prospect. The only things named in this sequence are ZuCot itself, Castleberry Hill (a location), and GCV's own prior work held soft ("a speaker series out in Albuquerque," "mission-driven storytelling work").

4. Only the published facts. No sales figures, collector counts, artist-roster counts, exhibition dates, awards, or quotes. The nine artist names in the first-touch draft are the gallery's own published roster — do not extend it. This sequence names none of them on purpose; it stays at "your artists / your interviews" so nothing can drift.

5. The free first piece is already on the table from the first touch. These touches don't re-offer it as the lead; each one adds a new angle.

6. Stop the moment Onaje replies. This is a conversation, not a drip.

Cadence

| Touch | Timing | Channel | What it delivers |

|-------|--------|---------|------------------|

| 1 | D+5 after first touch | Email | The one shot the interviews don't get: the work itself, at scale, the artist beside it |

| 2 | D+12 | Email | Free asset: "artist in the room" shot list (Appendix A) |

| 3 | D+20 | Email | Honest proof point: the piece and the person together is what moves someone |

| 4 | D+28 | Email | Q4 collector/holiday window: the year-end reception is the event worth capturing |

| 5 | D+36 | Email | Door-open close, no ask |

Touch 1 — The work, not the artist (D+5)

Subject: the one shot your interviews don't get

Onaje —

ZuCot already does the hard part. You sit artists down and film them talking, and that shows who made the work. What it can't show is the work itself.

A living artist standing in front of their own canvas, the piece reading at its real scale, the light in the room on Castleberry Hill. That's the shot a static gallery page can't give a collector, and it's the one your interview series doesn't have either.

If you'd point me at one artist and one piece, I'd come shoot it.

— Brandyn

ghostcoast.video

~90 words. Leads with the through-line as a concrete idea — the interviews show the artist, not the work — rather than re-offering the free piece. "Living artist" echoes their own mission language. No artist names, no metrics, no dates.

Touch 2 — Free asset: the shot list (D+12)

Subject: a shot list your team can run on a phone

Onaje —

I put together a short shot list for capturing an artist with their work — wide of the room, the piece in context, the artist's hands, a quick line in front of the canvas, the wall label. It's written so whoever's working the floor can run it on a phone, no camera rig.

It's in Appendix A, the whole thing, no strings. If running it yourselves ever reads like more than you want to take on, that's the part I do.

— Brandyn

ghostcoast.video

~80 words. Delivers the free asset without asking for anything. Appendix A is self-contained and mentions nothing GCV needs.

Touch 3 — The proof point, honest (D+20)

Subject: what I keep learning shooting spaces

Onaje —

I've documented events and rooms before, a speaker series out in Albuquerque and some mission-driven storytelling work. The lesson's the same every time: the piece and the person, together, in the room, is what moves somebody. The room sells the work in a way a jpeg on a page never will.

If you want to judge that instead of taking my word, I can point you at what I've cut.

— Brandyn

ghostcoast.video

~75 words. References GCV's real work soft — "a speaker series out in Albuquerque" (Astronomia) and "mission-driven storytelling work" (Detroit Action) — never named, never a results claim, no implication ZuCot is a client.

Touch 4 — Q4 reception hook (D+28)

Subject: the closing reception is the piece worth shooting

Onaje —

Q4's when the collectors and the holiday buyers are actually looking, and every gallery runs a year-end show or a closing reception right in that window. That's the event worth capturing: the artist in the room, the work on the walls, a patron standing in front of a piece deciding.

A 60-second cut from a closing reception does two jobs. It shows the work at scale, and it gives the artist something to repost while the show's still up.

If there's a year-end reception on the calendar, I'd shoot it for you.

— Brandyn

ghostcoast.video

~95 words. Uses the real Q4 collector/holiday + year-end-reception window without asserting a specific date. The "artist reposts it" angle is the gallery register — the artist's own audience is the multiplier.

Touch 5 — Door-open close (D+36)

Subject: leaving the door open

Onaje —

I've sent a few notes and won't keep them coming if the timing's off. A gallery's got enough on its hands.

The offer stands. If ZuCot ever wants the work itself on camera — an artist with a piece, a room, a reception — I'm around.

— Brandyn

ghostcoast.video

~48 words. No ask, no recap, no guilt. Ends warm and leaves the standing offer intact.

Alternate channel — Instagram DM @zucotgallery

If email bounces or Brandyn prefers DM, run the same five touches through DM, shortened. Here's the Touch 1 variant; the rest shorten the same way. Pick one channel per touch — do not triple-send.

Hey — Ghost Coast Video here. You already film your artists talking. The shot you don't have is the work itself: an artist standing in front of their own canvas, the piece at scale, the room on Castleberry Hill. Point me at one artist and one piece and I'll come shoot it. No strings on the first one.

— Brandyn / ghostcoast.video

Appendix A — "Artist in the room" shot list

The deliverable for Touch 2. Self-contained; paste into an email or drop into a PDF/Google Doc. Written for whoever's working the floor, phone in hand.

What it is. A short shot list for capturing an artist with their own work, on a phone, so the piece reads at its real scale. Whoever's in the room that day can run it.

Why it matters. A gallery page shows the work as a thumbnail. A collector deciding on a phone can't judge scale, texture, or how the piece sits on the wall. The artist-in-the-room shot fixes that — the artist and the work together, so the piece reads as a real object in a real room.

The shots, in order.

1. Wide of the room — the piece on the wall in context, so you see how it sits in the space.

2. The piece, full, straight on — no crop, edge to edge, so the scale is honest.

3. The artist walking into the frame toward the piece — the person and the work in one shot.

4. The artist's hands — a close detail shot if the work is textured or hand-finished.

5. The artist standing beside the piece — same plane, so the scale reads against a human body.

6. A 20-second line from the artist in front of the canvas — one thing they want a collector to know about the work.

7. The wall label — a quick close-up, so the title, year, and price line are legible.

Cutting it. Hold each shot two or three seconds. The wide, the full piece, and the artist-beside-the-piece are the three that matter most; the rest is texture. Sixty seconds is seven shots, no music needed, maybe one line of the artist's own words over the top.

Why the artist will repost it. You're showing their work the way they see it — at scale, in a room, with them in it. It makes them look good, and it quietly does the asking for the gallery.

Notes for Brandyn