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Christmas Ideas
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Days for Christmas
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I think that everyone who comes to the art world is a collector first:
they begin with a passion for painting or sculpture or whatever they like,
and little by little they become acquainted with the scene, the way the galleries work.
And that more or less how I got here: I was a collector
and I realized that there were certain flaws in the business,
first I tried to help some young artists I found were interesting
—there was some patronage in the beginning—
and then this gradually became a gallery, and a larger gallery...
and now it is my central lifetime professional project.
The world of galleries in the digital age is totally different from what we knew before the digital era.
Today, the information flows everywhere, people can see everything that happens in the world and they have very easy access,
by travelling or just through the Internet, and that's why what was needed was a gallery model that was a bit more comprehensive,
one that offers the customer not just pieces of art, but rather a concept,
a style, a way of life that goes beyond art: for that reason we have incorporated architecture,
we have incorporated design, we have incorporated furniture,
because what we sell is a slightly broader idea of what the concept of art is, not just focusing on traditional art.
From this point of view we are a bit of an unusual gallery.
If you are a Spanish gallery owner, you have to understand that the market is the world
and, in some way, you can only survive if on the one hand you offer a wide range,
and secondly, if it is clearly international.
In other words, we do roughly fifteen fairs every year,
which means that every year we go twice to Paris, twice to London, twice to Hamburg, to Stockholm, to New York, to Miami...
and that's what makes our customer base, what makes the base of people who know the gallery more extended,
and therefore the relationship with the client who has met us personally, who has already seen the pieces in situ,
who has been able to touch them, who has been able to appraise them, is more fluent.
If you don't internationalize, it is very difficult today for a gallery in Spain to have a chance of surviving just with the domestic market.
Very difficult.
Well, I very often try to play the devil's advocate.
I always try to say what I think is wrong.
Not so much applaud what I find is a success, which is purely the artist's, and so I leave them all the merit;
but when there is something that I believe blurs their work, or I they lose their way a bit,
then if I see that, I try to tell them, although sometimes the artist doesn't like it
and it causes more conflicts than anything.
But I think it's the role of the gallery owner, when you see that there is something that isn't right, to say so,
to go ahead and tell them... and then, the artist doesn't pay any attention if they consider that that's the path to go...
I'll carry on with that path and I'll defend that path.
But when I see that there is something, yes I do get involved a lot.
I'm a gallery owner that pretty much sticks his nose in the artists' kitchen.
I like the link between the artist and us, and us and clients, a very clear, very simple link.
I think that we shouldn't set too many obstructions, too many barriers, no hindrances...
just a relationship between someone who see something that generates a desire,
generates a will to have it or to share it, and to make it possible for them.
This concept of simplicity is something I like very much, not only in the world of art but in life.
I think simplicity is something basic for things to flow and work out.
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