What motivated you to pursue an MA at Sotheby’s Institute? 

I come from an academic background that initially had nothing to do with art. I completed my undergraduate degree in Political Science at Kyiv Mohyla University in Kyiv, Ukraine, followed by several years of Liberal Arts studies at Bard Berlin, where I engaged deeply with Great Books studies, philosophy, ancient literature, and ethics. It was at that point, however, that I became increasingly interested in aesthetics as a branch of philosophy and, subsequently, in art history.

My first introduction to the subject came through a deep dive into Florentine Renaissance painting of the 14th and 15th centuries, which then quickly expanded into an interest in contemporary art.

But as fascinating as it was, theoretical study felt removed from everyday life. Living in Berlin, I began discovering the world of commercial galleries, something I had not really encountered growing up in Kyiv in the 90s and early 2000s, as commercial spaces simply did not really exist in Ukraine at the time.

Being able to attend openings and exhibitions in Berlin, and seeing how a commercial gallery can be a meaningful element of the art world ecosystem — where commerce, creativity, and knowledge meet — made me want to pursue a career in this industry.

Because I was starting from scratch, I needed to find a place that offered both academic and networking opportunities, and Sotheby’s Institute of Art provided precisely that. During my Master’s studies, I not only gained an incredible amount of academic knowledge, but was also introduced to the London art world and began building my career.

Looking back, how did the MA in Contemporary Art program at Sotheby’s Institute equip you with the tools and knowledge to navigate the art world? 

My time at Sotheby’s gave me both an entry point into and an understanding of the global art world. London is, has been, and will remain an incredibly important city within this ecosystem, and having Sotheby’s tutors and visiting lecturers guide you through it is an invaluable experience.

What were the most valuable skills you gained during the program and how do you apply them in your career? 

I learned to be curious. That is something that was encouraged during my studies, and it has remained a trait that has stayed with me. It is very easy to stop being curious, but whether you are reading an academic text, seeing a show, doing a studio visit, or talking to a collector, curiosity is key.

It can lead to some of the most interesting discoveries and uncover unexpected knowledge and ideas. I think it is essential in the kind of work that I do.

Can you describe your current role as Senior Director at Hales Gallery?  

My role is very diverse. I oversee many aspects of Hales’ London location and manage the team, from programming and artist management to sales and business strategy. Because we have galleries in several locations, including London and New York, I also work very closely with my colleagues in the US. I travel a great deal as well, which is an essential part of the job.

How do your responsibilities at the gallery reflect what you learned at Sotheby’s Institute? 

In my work, I look at artworks all the time, and having the ability to critically assess and understand them is very important. The skill of visual analysis, as well as developing an eye, was a major focus during my studies, and I am glad that the tutors paid so much attention to it.

We were constantly looking at different works and were expected to discuss them. We were also encouraged to go to exhibitions.

You learn this skill as a student and then continue to refine it during your professional life. I use it every day. Being able to critically assess a work and provide context beyond the purely visual is incredibly important, and it helps you distinguish quality from noise.

What emerging ideas, materials, or themes in contemporary art are most exciting to you right now? 

I have really enjoyed seeing a younger generation of artists embrace art history and the work of artists who came before them. It used to be frowned upon to reference another artist in your work — there was a sense that one always had to reinvent the wheel. It is good to see that changing.

What advice would you give to someone in the early stages of their art world career? 

Do not be afraid to go after whatever it is that you want. It is so easy to get caught up in what other people think you should be doing or how you should be doing it. That can become a serious block, so try to put it aside.

And make sure you put in the work — study, research, go to shows, spend time in studios, meet people. Nothing comes out of nothing, and there is a great deal to be said for effort. Not effort just for effort’s sake, but effort as a pathway to the next level.

What advice or tips would you give to Sotheby’s Institute applicants? 

Try to be as clear as possible about what you want to achieve during your time at Sotheby’s Institute. Academics aside, you will have access to a very wide range of opportunities, and it can feel overwhelming. Try to focus on the key areas of development that will be most beneficial for your future career. That way, you will get the best out of both the academic experience and the networking opportunities on offer.

Image: Sasha Gomeniuk at Hales London, with artworks by Carole Gibbons, 2026