By: Aimee Tariq
We all know the image of the “starving artist” — working odd jobs by day, creating by night, hoping for a break that rarely comes. The romanticism of that image has been reinforced by decades of movies, books, and folklore. But for most artists, it’s not a noble struggle. It’s simply reality.
The art world can be brutally complex — not for lack of talent, but for lack of access. Marianne Galasso knows this story intimately. She’s spent her entire career rewriting it.
“Most artists don’t fail because their work isn’t good,” she says. “They fail because they’re stuck wearing too many hats.”
Building A Different Kind Of Platform
Galasso is the founder of EFAB, a fine art platform built to flip the traditional model on its head. There are no upfront costs for artists, no gallery gatekeeping, and no expectation that they also play the roles of marketer, salesperson, and logistics coordinator.
Instead, artists focus on their work — while EFAB handles the rest.
The platform takes care of professional photography, framing, storage, shipping, and fulfillment, but only after a piece sells. This means creators can participate without the usual financial risks that keep so many on the sidelines.
The Hidden Barriers No One Talks About
For artists, the hurdles begin early — and they’re often invisible to outsiders. Framing a large piece can cost hundreds of dollars. Storing unsold inventory requires space that they may not have. Shipping to buyers — especially internationally — can be prohibitively expensive.
Even getting into art fairs or traditional galleries comes with its price tags: application fees, booth rentals, and marketing collateral. And all of that assumes an artist has the time to self-promote.
“You’d be shocked how many incredibly talented artists are working as baristas or assistants just to cover studio rent,” Galasso says. “The art world rewards visibility, but not everyone has the time or money to be visible.”
With EFAB, artists are invited based on quality, not budget. Once onboarded, they gain access to professional presentation and fulfillment without paying upfront.
Why The System Isn’t Working — And Who It Leaves Out
Traditional galleries often favor established names, operate on volume, and take commissions that can reach 50% or more. For emerging artists, that’s a steep climb. Even those accepted into reputable galleries can find themselves with just a handful of works on display, buried among dozens of other artists, with little marketing push.
Meanwhile, the rise of online marketplaces has created a different problem: oversaturation. With thousands of low‑quality listings competing for attention, many exceptional works go unseen.
“The current system filters by privilege, not potential,” Galasso says. “And that’s a loss for everyone.”
EFAB is designed as an alternative. It’s not about mass listings or chasing trends. It’s about building sustainability for artists who’ve been overlooked — those who are brilliant but don’t have trust funds, business degrees, or the bandwidth to hustle on social media every day.
Supporting The Artist as a Whole Person
Galasso’s model is rooted in empathy. Her own career path gives her perspective: as a fashion student and young mother, she learned firsthand how challenging it is to sustain creative work while managing real-life responsibilities.
She remembers juggling childcare with client meetings, or staying up late to complete projects after putting her kids to bed. That lived experience shaped EFAB’s approach: it respects the whole artist, not just the part that produces.
“We assume artists have time to promote, pitch, frame, and sell. But what about the ones raising kids or caring for parents? What about the ones holding down jobs just to survive?” she asks.
By removing logistical and financial burdens, EFAB gives artists room to breathe — and, more importantly, room to create.
From Passion Project To Platform
What began as a personal response to the broken systems she saw around her has become a growing movement. Galasso now works with artists from around the world — many of whom had never sold outside their local community before EFAB.
She curates the platform herself, reviewing submissions and selecting pieces based on quality, originality, and narrative voice. Every work is given context, and every artist receives personalized support. It’s a high‑touch, high‑integrity model that’s rare in an industry driven by volume and speed.
“We don’t want thousands of listings,” she says. “We want pieces that mean something — to the artist and to the buyer.”
Changing The Narrative — One Artist at a Time
For Galasso, EFAB isn’t just about commerce. It’s about dignity. It’s about ensuring that an artist’s work — and story — doesn’t end up in a storage unit or buried on a forgotten webpage. It’s about preserving creativity not just as a product, but as a livelihood.
“There’s so much unrealized brilliance out there,” she says. “I don’t want to wait for the world to catch up. I want to build the structure that makes it possible.”
That structure is what makes EFAB different. It’s a bridge between the purity of creation and the practicality of selling — without forcing artists to compromise one for the other.
An Invitation, Not a Transaction
Collectors benefit from EFAB’s model as well. Instead of sifting through endless online listings, they step into a curated experience. Each piece comes with a story. Each purchase supports an artist who’s been selected for their craft, not their marketing budget.
For Galasso, it’s about re‑humanizing the relationship between artist and buyer. “When someone invests in a piece of art, they’re investing in a person’s vision, time, and heart. That deserves a platform that treats it with care,” she says.
With EFAB, Marianne Galasso is proving that the future of fine art doesn’t have to be defined by exclusivity or exploitation. It can be built on equity, empathy, and excellence.
For the thousands of creators still waiting for their break, she’s offering something even more valuable than exposure: a way in — and a way forward.
