Category: Artist Interviews

Can you briefly describe your own personal design philosophy?

My design philosophy has always been based on creating a conversation between the past and the present and balancing classical and contemporary influences. At MA, our design approach begins with research. We like to develop a detailed understanding of a project’s historical and cultural contexts and then find ways to create meaningful connections to how we live today. I am also an avid consumer and collector of visual art and music and like to draw inspiration from these sources. It may be surprising to find out that many of our buildings are influenced by an artist’s creative process or even specific works of art.

What is your thought process when you’re incorporating art into a space? Are there similarities in the process when designing a building?

When designing a building, I look for solutions that transcend the usual and the traditional or, even better, make the usual and the traditional feel special. We aim to create an edge and make our buildings stand out without getting too intellectual or disrupting the existing context. Roland Barthes talks about the “studium and punctum,” introducing—in photography—the need to balance the familiar with something that strikes the viewer. This is the way I like to approach architecture, as well as the process of incorporating art into a space. Through the integration of art and architecture, you can really elevate a space and tailor the ambiance to be conducive to a specific mood, whether that’s contemplation, peace, or activity. When selecting artwork, it’s important to recognize that each piece is more than just a visual display on the wall. It’s also essential to grasp the physical characteristics of the space, considering how the environment both accommodates and complements the art, and how the artwork contributes to the viewers’ overall experience. These are the factors we consider in order to design spaces that celebrate art, and select art that feels right in its environment.

How did you start collecting art? 

My late mother, Julianna Borsa Braun, was an art critic in Canada. She exposed me to great art and taught me about it ever since I was a young child. Despite her efforts, I was not interested in art until adulthood. I actively questioned the usefulness of art, and as a child I failed to see it. When my mother fell gravely ill with cancer, I helped take care of her, and in the process I realized that asking her how she was feeling only reminded her of how ill she felt. So, to take her mind off of her illness, I thought I’d talk to her about art. To prevent her from thinking I was just humoring her though, I searched the internet for artistic genres that I personally found visually appealing, and came across street art, particularly by artists such as Banksy, Mr. Brainwash, and Shepard Fairey. 

My mother and I ended up having some deeply meaningful conversations about art, which brought us great joy and solace during the most challenging time in our family’s life. I finally began to see just one of art’s many utilities, and to feel passionate about art. I began collecting art in 2009 when my mother passed away. I saw it as a way of keeping her memory alive in my life. Every time I acquire a new piece, I try to think about what she would have to say about it, and in the process, her lessons continue to speak to me.

How did you start collecting art?

I started collecting by messaging gallerists on Instagram during the pandemic. Nobody would sell me anything as I was enquiring on in-demand young artists and had no collecting credentials. So, I created an anonymous Instagram account called @londonartcollector and asked some collectors I knew if I could post photos of their works. Soon I started to look like a genuine collector and gallerists were more willing to sell me works. Next year a friend and I are opening a space called Palmer Gallery in Lisson Grove, so the way I collect will most likely change quite a lot.

What were the first and the latest artworks you purchased?

The first artwork I purchased was a work on paper by Flora Yukhnovic. She had just completed a residency in Venice with Victoria Miro, studying the Rococo compositions of Tiepolo. I thought they were beautiful and loved the idea behind the work. I was surprised they hadn’t all sold when I enquired; in the end, I bought a sepia study.

The last artwork I bought was by a recent Slade and RCA graduate called Saskia Colwell – she was part of a group show at Pippy Houldsworth. Saskia makes monochrome charcoal on linen works that can be quite challenging. They’re sometimes sensual, sometimes fetishistic and often very brave. I think she’s going to be making really interesting work in the years to come. 

Could you tell us a little bit about yourself and how you started your journey in the art world?

Currently I’m based in New York, however I started my art collection journey in Belgium 15 years ago. 

Back in 1998, I opened a gallery in New York which was called Sutton Lane Gallery. Then in 2001, I opened two galleries in London and Paris. However, I realized that in today’s landscape it’s almost impossible to sustain a gallery given the bigger galleries, such as Gagosian, Hauser & Wirth, and David Zwirner, in the market. Between the art fairs and everything else, it’s almost not possible to survive. I do believe that at one point those big galleries will start to buy back some smaller galleries so they can do the research of finding good artists. 

But that’s why instead, I decided to focus on starting my own collection in 2008. As a dealer, I collected many artists that I used to include in my shows and many other emerging talents. 

How did you start collecting art?

There are several reasons. Firstly, I come from a family of collectors, so it was a natural path for me to follow in their footsteps. My family collects ancient art and contemporary design, which includes items like Mario Ceroli’s table “Rosa Dei Venti,” Enzo Mari’s chairs, Gaetano Pesce, Philippe Starck, Driade furniture, Picasso’s paintings, along with Greek and ancient Roman marbles, and Impressionist paintings. They missed contemporary art, so I thought that starting from there would offer a new and fresh perspective to understand the era we are living in. Additionally, my relatives are also connected with the most important Italian Impressionist painter, Giuseppe De Nittis, who had friendships with Vincent Van Gogh, Manet, Degas, Oscar Wilde, Zola, Dumas’s son, Princess Matilda Bonaparte, Gustave Dorè, Maupassant, Boldini, and many others. Consequently, I grew up surrounded by incredible adventurous stories about art and life from my Granma.

I derive immense satisfaction from discovering new artists and assisting them in their careers due to my profession. I work as an art curator and art consultant, and I have spent many years collaborating with esteemed institutions like the Venice Art Biennale, Paris Photo, Arles Festival, and Sotheby’s. I also gained valuable experience as a gallerist when I co-founded Visiva in Rome, which stands as Italy’s largest art gallery spanning 7,500.00 sq ft. Nevertheless, the primary motivation behind my art collection is to absorb the alchemy of art and the mystery of creation from artists.

Another reason that sets my collection apart is its nomadic nature. It travels with me. While living in Rome, I used to reside in Appia Antica, an ancient large villa with private catacombs where I displayed my collection. However, for over a decade now, extensive travel has been a part of my job. Consequently, I devised a solution: all the artworks I collect must fit into a suitcase, bag, or box, much like Marcel Duchamp’s famous “Box in a Valise,” which contains the sum of his artistic work. In spending years without a fixed address, living in various hotels, and travelling across the globe, I thought to adopt a format that would allow me to transport my collection easily whenever and wherever I wished. This way, I feel less alone when I have all my artwork with me during my travels, and I also relish the opportunity to show my friends my latest acquisitions, along with the new stories behind each piece of art.

Over the past year, I’ve ventured into collecting NFTs, and I’m enthusiastic about having a portion of my collection accessible on my phone. Jean-Paul Sartre once said, “If you are lonely when you are alone, you are in bad company.” With my artwork, I’m always in good company. Recently, I’ve been appointed as the Director of Infinity Art Museum and Curator of Art Dubai Digital, serving on the selection committee for the Maxxi Bulgari Prize for digital art, and curating the DecentralArt Pavilion during the Next Venice Art Biennale. Working with NFT artists allows me to make my art collection more ethereal and mobile, eliminating the need for a physical space to display all my pieces. They can now travel with me.

Can you briefly describe your own personal design philosophy at Louise Bradley Design Studio?

I believe that exceptional design has the power to transform our surroundings and wellbeing. This is at the core of all of our design practices, fusing functionality and aesthetics. We understand that the spaces we live in have an impact on our everyday lives, a well-designed space not only impacts our wellbeing but with their seamless functionalities this can make our everyday living simpler and more harmonious.