Image by Vital Abilow

How would you describe your Sotheby’s Institute experience?

It was immediate, immersive, and deeply rewarding. Every day, we met professionals from all corners of the art world, hearing firsthand how they got started, what their day-to-day looks like, and the pivotal moments that shaped both their careers and the industry itself. I was craving depth, so I asked a lot of questions! But what really stuck with me wasn’t just the answers, it was the subtle in-between moments. Learning from other students and faculty sharpened not only my understanding of the market but also my instincts as a thinker, curator, and producer who’s always closely observing culture.

What drove your decision to study at Sotheby’s Institute, and what courses did you undertake?

I’ve been covering investment opportunities for capital holders since the beginning of my career as a producer and journalist for media brands like Bloomberg, Institutional Investor, Fortune, and beyond. But I was also raised in a wonderfully creative, multicultural family—my father was an artist, my mother a museum curator. Our family table was filled with bold thinkers and voices from all walks of life: writers, artists, directors, journalists, composers. For me, creativity and capital are intrinsically interwoven. It takes the same energy and passion to bring an artist’s vision to canvas as it does to launch an entrepreneurial idea into reality.

Having spent a lot of time researching niche markets and financial instruments, I eventually became intrigued by the idea of art as an asset class. I wanted to explore the parallels, patterns, and technicalities, not just for myself, but for friends, colleagues and clients who were asking the same questions. There was clearly interest, but not enough accessible information.

That curiosity became the foundation for Art Asset Class. But information was not easy to gather, which is especially frustrating for a journalist trained to track things down. So, I signed up for the Art Business Certificate at Sotheby’s Institute, and it turned into a deep dive that not only clarified a direction but also cemented my commitment to the cause.

I took the course in London and flew back and forth to New York every two to three weeks, which gave me the chance to regularly reset my perspective. It was intense, but I treated it like a journalistic assignment—and I’m so glad I did. I showed up to everything: every talk, lecture, art fair (across the UK and Europe!), social, opening, and panel.

Art Asset Class is a live media platform connecting artists, collectors, and experts. What was the inspiration behind launching the company?

The vision behind Art Asset Class is to create a space where art—in all its forms, from film and music to fine art and collectibles—is truly at the center of conversation. It’s a place where access, information, and inspiration intersect, and where ideas can be met with the powers to greenlight them.

I often describe it as the Food Network for art. Think about what that did for culinary culture, or what Martha Stewart Living did for lifestyle. It made deep, insider knowledge feel both aspirational and accessible. A few decades ago, food conversations rarely went beyond the plate. Now, we explore food with all our senses and can instantly connect it to memory, meaning, and greater context.

I want Art Asset Class to do the same for art. There’s so much more to the experience beyond the frame: the history, the emotion, the economics, the cultural ripple effects, not to mention the sensory and psychological connection. Art has the power to shift how we see, think, live, connect, and thrive. It’s an essential human experience and people want to engage with it more deeply. They just need better tools and more entry points.

That said, while art itself is universal, the art world is a world unto itself—a multi-billion-dollar industry with its own language, pace, and codes. It requires translation, initiation, and trust. Unpacking these layers alongside today’s data and strategic tools will be key as we dive deeper into our primary foray, exploring art as an asset class. This means highlighting key considerations and leaders on both the buy and sell sides, looking at value and opportunity, and making it understandable, not intimidating. Art Asset Class is designed to open doors, spotlight data, and foster connection and community that scales across verticals and regions.

Art belongs at the center of conversation, and every part of society benefits from supporting it. It’s time to build a platform that reflects that.

Why is educating the next generation of collectors a mission that matters to you?

There’s a real shift in how the next generation of collectors is reshaping the market—with new values and fresh rules documented in several studies. They’re digital gurus, socially conscious, and often self-directed, seeking more than just aesthetics. They want meaning and connection, and are deliberate about how they spend. Quite frankly, with so many investment opportunities vying for our attention, the bias toward careful, intentional choices is completely understandable

Global wealth is booming, attendance at fairs is growing—but is that translating into transactions? Is it translating into patronage? Just like prospective investors in start ups need information and resonance, so do potential collectors and patrons. Does the art industry need more buyers? Do artists and institutions need more support? Turns out, it’s a resounding yes. So how do we go from lover to buyer? How do we convert enthusiasm into confidence?

When you invest in the arts, you’re not just buying an object, you’re investing in cultural capital. And when you consider art and culture as a non-negotiable aspect of the human experience, it becomes essential to facilitate capital flow that supports not only the creators themselves but also the institutional and social infrastructure.

In your view, how is the art market likely to evolve over the next ten years? What trends are you keeping an eye on?

We are living in an era where the mere value of art, education, and culture is questioned—you could even say it’s under threat. I’m deeply passionate about the emergence of the artist as a cultural entrepreneur, offering the same innovation to our evolution, and receiving the same value—and valuation—in return.

I also think human creativity is the perfect counterbalance to artificial intelligence. As mundane tasks dissolve into practical solutions, we’ll have more time—and a greater need—to explore and refine our talents and capabilities. Whether technically perfect or arrogantly bold, artists throughout time have done just that: translated their vision into hours and hours of obsession to communicate the unspoken into the universe. So, I think, alongside a multitude of emerging technologies, we’ll see a growing desire and need for creativity and a more engaging multifaceted experience.

Art Asset Class recently hosted its inaugural event of a new series, From Lover to Buyer, during New York Art Week. What can we expect next from the platform?

From Lover to Buyer is an event series built around connection and conversation, following the rhythm of the art market—like a rehearsal dinner before the big ‘art family reunion.’ It explores the shift from early enthusiasm to real confidence, and the path from collecting to building something deeper, like patronage. The vibe is intimate and editorial, and it’s enhanced by extended experience with studio visits, curated tours, exclusive dinners, and moments that are thoughtful, welcoming and elevated.

We launched in our hub in New York, and now the next big moment is London during Frieze in October. The speaker lineup is awesome—leading voices from the art world alongside fresh perspectives from other industries, all hosted at stunning private venues that set the tone. After that: Miami in December, Los Angeles in February, and then back to New York, plus more destinations to come

The response so far has been incredible. There’s a lot in motion right now: a board of advisors coming together, collaborations with great partners and brands, and smaller, invitation-only salons under the Art Asset Class umbrella that explore how art naturally shows up in cross-industry conversations. It’s about building spaces for global connection and meaningful insight—for people who show up with intention and want to be part of something smart, surprising, and very special.

How did your experience at Sotheby’s Institute affirm, refine, or challenge the vision you had already begun developing with Art Asset Class?

Art Asset Class was already underway before I joined Sotheby’s Institute, but the course helped refine the vision—emphasizing connection over disruption. The biggest takeaway? The art world is deeply rooted in tradition; you can’t just charge through it with a torch. You have to know when to listen instead of shout.

Having spent years navigating London life as a native New Yorker, I was uniquely positioned to understand this. What I learned, and the people I met, sharpened the purpose behind our conversations and unlocked a clearer direction for the company’s vision, and it continues to do so.

What advice would you offer to current or prospective students at Sotheby’s Institute who are hoping to make an impact in the art world?

Ask yourself: what is the question you want answered? What do you want to walk away knowing? Set yourself a clear goal and let the teachings connect the dots. Sit up front, show up on time, raise your hand, and go to everything. It’s a professional course designed to inform your growth, but it’s up to you to make the most of it.

Impact comes from operating from a place of passion and knowledge—because it inspires those around you and makes them want to be part of your journey. The Sotheby’s Institute education is designed to do just that: answer your questions, fuel your passion, and, if you’re paying attention, position you for impact.