How would you describe your Sotheby’s Institute experience, and what drove your decision to apply for a Sotheby’s Institute MA program?

My Sotheby’s Institute of Art experience was both challenging and inspiring. I applied because I wanted to gain not only academic knowledge but also practical tools to navigate the complexities of the art world. The Institute’s reputation and global network made it the best choice I could have made.

Coming from a family of gallerists, I had been part of the art world since childhood, visiting galleries and fairs from a very young age. At sixteen, I decided to study in London to broaden my horizons, knowing that art is by definition an international concept and career.

I pursued a BA in Curating at Goldsmiths, which gave me a strong cultural and artistic foundation. However, I realized that while I had the artistic background, I still lacked a deep understanding of the structures behind the scenes—the networks, management, and commercial aspects that sustain the art world.

This is why I chose to pursue the MA in Art Business at Sotheby’s Institute. Many of the skills I use today, or had the chance to further refine, stem directly from the teachings and experiences I gained during that program.

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

The MA in Art Business gave me a solid understanding of both the cultural and commercial dimensions of the art market. From legal frameworks to market analysis, I acquired the skills to approach art with both passion and strategy.

The program was particularly valuable because it revealed many of the behind-the-scenes mechanisms of the art world.

I learned how the structures supporting an artist—from archives to foundations—are essential to establishing their long-term value, both historically and economically. These insights, combined with a strong grounding in art law, gave me a real advantage when entering the professional field.

This knowledge allowed me to avoid common mistakes and move forward with greater confidence, since I already had the theoretical foundation to guide my practice.

Could you share a memorable moment or project from your time at Sotheby’s Institute that influenced your path in the art market?

There were many memorable moments during my time at Sotheby’s Institute. When I began, we were in the middle of the pandemic, so my first six months were entirely online. Still, the program gave me something invaluable: the chance to meet people from all over the world, each bringing a different cultural background and artistic perspective.

It was fascinating to see how all these different ideas and approaches to art came together in one program with a shared goal—to learn art business. What struck me most was how unique each person’s journey was, even within the same course. Many of the friendships and connections I made then remain strong today, and we still keep in touch. In the international art world, relationships are essential, and I truly feel that we built a kind of extended family.

Another aspect I deeply appreciated was the freedom we had in our essays and exams. Even though the course was well-structured and designed to prepare us for our careers, we were always encouraged to bring our own perspective and creativity. After all, even those working on the business and management side of the art world must think creatively in order to understand and engage with artists.

My dissertation is a great example of this: “Contemporary Art in the Digital Age: The Birth of a New Market.” At the time, it was still a very new topic, but many of the ideas I explored there continue to influence my work today with Iqoniq. For instance, we now use NFC technology as a kind of digital passport to connect physical artworks to the digital world through an immutable contract of ownership.

Were there specific courses, projects, or faculty insights that helped shape your approach to entrepreneurship?

Yes, courses on art law and collecting, combined with the insights of faculty who had real-world experience, shaped my entrepreneurial mindset. They helped me understand how innovation can exist alongside tradition in the art market.

Some smaller courses, like Art Law, were particularly challenging at the time, but I’m very grateful because they gave me the knowledge I needed before entering the field. Today, these insights allow me to move faster and with greater confidence in my work.

We also worked on several projects with fellow students, and it was fascinating to see ideas from different cultures come together toward a common goal. Speaking and collaborating with so many different people at the Institute gave me confidence, and today this experience helps me greatly when closing deals internationally. I often feel at ease in these contexts, as I now see the art world as a familiar place.

How did the MA in Art Business program inspire or support your entrepreneurial ambitions, and what skills from the program have been most valuable in launching Iqoniq?

The program gave me the confidence to launch Iqoniq. Strategic thinking, market knowledge, and an international perspective were crucial skills I carried into the business. Above all, the program instilled in me the importance of credibility and trust in the art world.

I learned that in order to build a strong business, you need a solid framework. Thanks to my experience at Sotheby’s Institute, I understood that when launching an art-focused startup, every detail has to be in place from the very beginning if you want to be respected and taken seriously. This is why we spent two full years preparing before officially launching Iqoniq.

We partnered only with the right galleries because I had learned how fundamental provenance and authenticity are to the value of any artwork. All contracts were carefully reviewed by me personally, another lesson rooted in the Institute’s teachings.

The marketing we developed—and continue to refine—was approached with a clear business mindset, showing clients not only the opportunity to acquire and invest in accessible art, but also the importance of understanding the stories and histories behind the works. Even the Iqoniq logo was studied for a long time, with the goal of creating something iconic and timeless.

All these steps, from structure to presentation, reflect lessons I absorbed at Sotheby’s Institute. For this, I owe a great deal to the program.

Image: Courtesy of Brian Nuciforo at Iqoniq. Cavallo Rosso, screenprint décollage by Mimmo Rotella

6. What inspired you to create Iqoniq, and what gap in the art market are you aiming to fill?

Iqoniq was born from the idea of making prints and multiples more accessible while also offering educational resources. We want to bridge the gap between collecting and learning—creating a platform where people not only buy but also understand the cultural value of the works.

The inspiration came to me very early on. Growing up, I was constantly visiting galleries and noticed that in their storage rooms there were countless prints by major museum-level artists. When I began asking questions, I realized that for many gallerists, prints were considered a secondary business, often overlooked. Because of this, a large portion of the public never really understood the existence and importance of editions.

Many people outside the art system tend to believe there are only two categories: original works and inexpensive posters sold in museum shops. In reality, artists’ prints are authentic works of art—created in collaboration with master printers, who are artisans in their own right, and signed and numbered by the artists themselves.

This became the true challenge of Iqoniq: not just to build a site that sells prints, but to create a community of people interested in the world of art. Step by step, we aim to explain the history and techniques of printmaking, showing both their cultural and economic value.

We want to become the primary source not only for acquiring prints, but also for learning about certification, authenticity, provenance, and market relevance. The platform was therefore designed as both a marketplace and an educational hub.

At Iqoniq, our goal is to revive and reposition this market segment. We see ourselves as specialists in prints and multiples, building a trusted brand that combines luxury with accessibility—bringing to light historical works by major artists in a way that resonates with today’s collectors.

You’re working with prestigious galleries like Cardi, Christian Stein, and Gio Marconi. How did these collaborations come about?

These collaborations are the result of mutual trust and a shared vision. Iqoniq is committed to quality and integrity, and these galleries recognized the seriousness of our approach.

Our project is highly curated and involves extensive work: days spent in archives, photographing artworks, researching prints, creating high-quality content, and studying market trends. This is something most galleries wouldn’t undertake themselves, either because of lack of time or because it wasn’t their priority.

We did it because we truly believe in this project and its potential to engage younger collectors, particularly for works signed by renowned artists. Building these collaborations required patience, dedication, and the creation of visually compelling content that resonates with today’s trends.

We expressed our commitment and passion to the galleries, which encouraged them to believe in us. Subsequently, we established contracts giving us exclusivity to sell their works online. For the galleries, this is a simple and beneficial arrangement: they receive a percentage of each sale without having to manage the online operations themselves.

Through this approach, we aim to combine respect for the artworks and the artists with a professional and innovative business model—allowing both Iqoniq and the galleries to thrive.

What advice or tips would you give to Sotheby’s Institute students or alumni aspiring to enter the art market?

Learn as much as you can, constantly. The people at Sotheby’s Institute are incredibly knowledgeable and often already have business ideas or experiences that they can share with you. Be curious, ask questions, and take advantage of every opportunity to learn from them.

Don’t be afraid to be ambitious and hungry for knowledge. Within the MA program, everyone is a valuable resource who can teach you a lot and help shape your future career. Build your network, stay open-minded, and combine what you learn with your own perspective to make a difference in the art world.