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

My time at Sotheby’s Institute was shaped by meaningful conversations, steady learning, and relationships that have continued to play a role in my professional life. Many of my classmates are now working across different areas of the art world, which has naturally created opportunities to collaborate and grow.

One of the most lasting connections I made was with Victor Custot. I had always shared my passion with him for bridging Asia with the rest of the art world, and that shared vision eventually led us to work closely together, ultimately bringing me to my current role at Waddington Custot.

The idea of applying to the MA Art Business program came while I was working at Artsy. I found myself increasingly drawn to the market activities of the art world—how the primary market operates and how works move through the secondary market. I was looking for a program that could offer both context and clarity, along with a broader perspective to help me shape my career path. I began researching the educational backgrounds of various art world professionals, and Sotheby’s Institute stood out as the right place to explore these interests.

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

The program helped me develop a structured understanding of how the art world operates, both conceptually and in practice. It provided a solid foundation in market mechanics, from valuation and collecting trends to the roles of different players across the primary and secondary sectors.

What stayed with me most was the emphasis on project-based learning. We were tasked with curating exhibitions for commercial spaces and building art investment portfolios within defined budgets. These exercises encouraged us to look beyond surface-level trends and consider the broader economic, social, and historical forces shaping the art ecosystem. That perspective has been valuable as I’ve continued to move through different parts of the field and make more informed, long-term decisions.

Your role at Waddington Custot bridges the UK and China—how do you navigate the cultural and commercial differences in these two markets?

Navigating the UK and Chinese art markets requires a sensitivity to both cultural nuance and different ways of conducting business. In the UK, the market is more established and institutional, with a slower pace and a focus on long-term relationships. In China, things can move much faster, and there’s often a different set of expectations around communication, decision-making, and client engagement.

It’s also important to understand the nuance within each market—there isn’t just one “Chinese” collector profile or one way of working in London. Local context, generational shifts, and individual preferences all play a role. I’ve learned to adapt my approach accordingly, and to act as a translator not just linguistically, but culturally. That flexibility has helped me build stronger, more sustainable relationships on both sides.

I am also well-equipped and supported by the gallery. The gallery owner, Stéphan Custot, has had a long-standing interest in the group of Chinese artists often referred to as “The Three Musketeers” of Chinese Modern Art, Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. For instance, we maintain a close relationship with Foundation Chu Teh-Chun in Geneva. Working with names of that caliber gives me the confidence and credibility to engage directly with collectors and institutions in China, often sparking immediate interest and dialogue.

Another meaningful connection is with Fabienne Verdier, a French artist we represent who spent ten years in China studying calligraphy. Her practice is deeply informed by that experience, and she continues to build bridges between Western contemporary art and traditional Chinese aesthetics. Stories like hers resonate strongly in China and reflect the kind of cultural exchange we’re committed to fostering.

What are some of the most exciting opportunities you see for UK galleries looking to engage with the Chinese art market today?

UK galleries are well-positioned to engage with Chinese collectors, especially as the UK has regained its place as the second-largest global art market. There’s growing interest from younger Chinese collectors who are internationally minded and value transparency, research, and strong institutional connections.

At the same time, presenting Chinese contemporary or diaspora artists in accessible formats, especially at fairs or curated exhibitions, can attract attention from both private collectors and institutions.

Building trust through cultural sensitivity, strong storytelling, and clear logistics (such as cross-border sales support) is key to sustaining those relationships.

You’ve experienced the MA Art Business program both as a student and now as a placement provider. How has that dual perspective shaped your view of the program?

As a student, I often found myself full of questions, curious about how the art world really works behind the scenes. The work placement elective gave me the opportunity to seek answers directly from professionals with decades of experience who have helped shape the London art scene. It wasn’t just about observing the market firsthand, but about gaining insight into the subtle dynamics between different players—galleries, artists, institutions, and collectors. That experience helped me better understand how the art world operates as a network of relationships and how each decision or collaboration can shape the landscape we work in.

Being able to offer work placements to Sotheby’s Institute students has been a full-circle moment for Victor and I. Having experienced the program from the other side, we’ve been able to reflect on what type of experience is genuinely valuable to students and how best to provide it.

We’re also fortunate that much of the gallery’s activity takes place in-house, which allows us to offer a comprehensive, hands-on experience to young professionals. With that in mind, we created a rotational role that gives students exposure to multiple departments within the gallery, including Research & Publications, Marketing & Communications, and Sales Support.

This structure helps them understand how different parts of the business connect, and prepares them for the multidisciplinary nature of the art world today.

How did your work placement experience influence your professional journey—and what made you want to support current students in return?

My work placement was a turning point. It gave me the chance to step into the day-to-day reality of the art world and engage directly with people who had shaped the field. It gave me clarity about the kind of environment I wanted to work in, and the pace and challenges I felt most engaged by.

Wanting to support current students came quite naturally after that. I know how valuable it was to have someone take the time to involve me meaningfully, and I believe placements should be more than observational. They should be structured, generous, and focused on growth. That’s what we aim to provide now: a space where students feel part of the conversation and can begin to see their own place in the art world.

What cross-cultural skills or global perspectives did you gain from studying at the Institute?

Studying at the Institute gave me a truly international perspective on the art world. Our cohort was made up of people from all over the world, each bringing different cultural references, market insights, and working styles. Learning alongside them helped me become more open-minded and adaptable—especially when it came to how art is valued, presented, and discussed in different regions.

It also made me more attuned to the importance of context: how historical, political, and social factors shape collecting habits and institutional priorities globally. That awareness has been especially helpful in my current role, where I often navigate between European and Asian markets. The ability to read between cultural lines, whether in a negotiation or a curatorial conversation, is something I began to develop at the Institute and continue to rely on today.

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

Go in with curiosity, not just ambition.

It also helps to have some prior experience, even if it’s brief. Having spent time in the field, even in a junior role, can give you a clearer sense of what you want to focus on and how to apply what you’re learning.

Finally, take the time to build relationships with your peers, faculty, and guest speakers. Many of the connections I made during the program have stayed with me and continue to shape my career in unexpected ways.

In-line image: Photo by Waddington Custot.

Lead image: Artwork by Fabienne Verdier, photo by Waddington Custot.