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

After completing my MA in Art History at Ghent University, I felt I had a strong academic foundation, but I was missing a more direct connection to the art world and how it actually functions day to day.

The program at Sotheby’s Institute of Art offered exactly that: something more hands-on, more personal, and closer to the realities of working with artists, galleries, and institutions. Also, it felt like a good excuse to finally leave the library and see some actual art in real life.

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?

What really stood out was the teaching format: small groups, direct access to tutors, and a strong emphasis on discussion and exchange. It made the whole experience much more dynamic and personal than a traditional university setting.

The constant exposure to exhibitions, galleries, and museums helped translate theory into practice.

You weren’t just learning about the art world, you were moving through it.

Another key aspect is the network. I’m still in touch with people I met there 14 years ago, both personally and professionally. That kind of long-term connection is incredibly valuable in a field like this.

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

The program placed a strong emphasis on writing and articulation: learning how to clearly express ideas about art, whether in essays, presentations, or conversations. That’s something I rely on every day in my work.

It also trained me to quickly analyze and contextualize artworks, and to feel comfortable forming and defending an opinion. That confidence, combined with the ability to communicate it, is essential when working with artists and collectors.

Can you describe your current role as Director of Rodolphe Janssen?

As Director, I work closely with our artists to develop exhibitions, support the evolution of their practices, and help build sustainable long-term careers. I oversee the gallery’s program and maintain relationships with collectors, curators, museums, and institutions, while looking for opportunities that can create meaningful visibility for the artists we represent.

An important part of my role is also working with collectors and institutions to place artworks in the right collections. I enjoy building these relationships over time and helping connect people with works that genuinely resonate with them. Successful sales are not just about transactions, they often contribute directly to an artist’s ability to continue developing their practice and reaching new audiences.

The role combines strategic thinking with a very hands-on approach. One moment I might be discussing an artist’s future museum exhibition, the next I am reviewing installation plans, meeting with collectors, or solving a last-minute logistical challenge.

After more than twelve years at the gallery, what continues to motivate me is the opportunity to work closely with artists over time and contribute, in however small a way, to the growth of their careers and the realization of ambitious projects.

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

The connection lies mainly in the balance between critical thinking and practical engagement. The program encouraged a way of looking at art that is both analytical and intuitive, which directly informs how I work with artists and present their work today.

At the same time, the exposure to real-world contexts during the MA made the transition into gallery work feel quite natural—although, admittedly, some aspects you only truly learn on the job (like in every field, I’m sure).

What aspects of working with artists, exhibitions, or clients do you find most rewarding?

Working closely with artists over time and seeing their practice evolve is incredibly rewarding.

Being involved in that process, through conversations, exhibitions, and the development of new work, is something that brings me a lot of joy. Playing a role in building an artist’s career over the longer term makes it even more meaningful.

Seeing a project take shape from an initial idea and ultimately come to fruition is something that still makes me proud, whether it is an exhibition, a publication, a simple sale, or a new opportunity for an artist.

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

Be present, be reliable, and stay curious. The art world is built as much on relationships and trust as it is on knowledge.

Also, take every opportunity to see exhibitions in person, go to gallery openings, and engage in conversations, even when you’re not entirely sure what to say yet. That comes with time.

And don’t underestimate the value of the less glamorous tasks: they tend to teach you more than you expect.

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

Take full advantage of the program’s scale and structure. Engage with your tutors, participate actively in discussions, and make the most of the access you have to exhibitions and institutions.

It’s also worth investing in the relationships around you. The network you build there can stay with you for many years, both professionally and personally.