Can you tell us about your experience at Treasure House Fair and the role you played there?

Through Sotheby’s Institute of Art’s partnership with Treasure House Fair, a few of my classmates and I had the opportunity to work as fair hosts. We were responsible for welcoming visitors, scanning tickets, helping guests navigate the fair, and supporting exhibitors with talks and events.

We were often the first point of contact visitors had with the fair, so we played an important role in shaping their overall experience.

One of the most exciting things we were able to do, and I think most of the students will agree, was participate in the vetting process.

Much like TEFAF, Treasure House assembles a vetting committee for every section of art presented at the fair. I worked with the furniture department, taking notes while specialists examined objects and discussed attribution, restoration, and craftsmanship.

Although European furniture is not my area of expertise, it was fascinating to listen to those discussions and observe how specialists evaluate authenticity, quality, and condition. It was a wonderful opportunity to learn directly from leading experts and gain insight into an important part of the fair that visitors rarely get to see.

What was your reaction when you came across the display featuring the mammoth skull and jewelry from Siberia?

I was walking around on one of the first days, just getting acquainted with the exhibitors and the space. The Stone Gallery (based in the Netherlands, specializing in minerals, meteorites, and fossils) displayed the mammoth skull at the front of their stand as their highlight, so it was hard to miss.

I came closer to read the label because I knew there was a chance the mammoth was from the same place as me. I talked to the gallery’s owner, Roy, and his son, Max, who confirmed that the skull was indeed from Yakutia.

I think it is human nature to seek out something we can relate to. There are more than six thousand kilometers between Yakutsk and London, and it is incredible that the mammoth skull traveled so far.

Unexpectedly finding something from home was incredibly moving. It reminded me of home and eased my homesickness, even if only for a moment. I think anyone who has lived far away from where they grew up can relate to that feeling.

The jewelry was actually my own idea. Roy asked if he could photograph me with the mammoth skull, and I suggested wearing my traditional Sakha (Yakut) jewelry to create a stronger connection between the object and its place of origin.

Traditional jewelry is something almost every Sakha family treasures, so it felt very natural to bring a small part of my culture into that moment. I was delighted that people became curious about Yakutia, and I was very happy to share a little about where I come from.

As someone with personal ties to the region, why did this display resonate so strongly with you?

The Republic of Sakha (or Yakutia) is well known for its mammoths. We even have a Mammoth Museum in Yakutsk. Thanks to the region’s permafrost, mammoth remains have been preserved exceptionally well.

Moreover, mammoth ivory was once a major industry in Yakutia, resulting in it becoming not only a luxury export item but also a source of artistic inspiration.

My maternal great-uncle, Mamontov Konstantin Merkurievich, was a folk artist and a renowned mammoth ivory carver who dedicated his entire life to the craft. Funny enough, his surname literally translates to “mammoth.” My family would always laugh and say he was destined for his career.

You can actually find one of his works in the British Museum’s collection. Unfortunately, it is not on display, but it is included in the museum’s online catalog.

The connection I felt was quite personal and, to be honest, a bit hard to explain. It is tied to geography, family history, and a sense of cultural identity.

How has your MA in Art Business at Sotheby’s Institute shaped the way you interpreted this experience?

Before starting my MA, I had only a very general understanding of how the art world functioned beyond auction houses. The program has given me a much broader perspective on how artworks are marketed, valued, and presented across different parts of the industry.

Throughout the fair, I found myself observing not only the objects but also the people around them. I was interested in visitor behavior, different types of collectors, and how exhibitors presented their works to build trust and attract interest. Even simply observing conversations between exhibitors and visitors became an opportunity to learn.

Looking at the mammoth skull, I also appreciated how thoughtfully it was displayed. The Stone Gallery had created an environment where visitors could easily imagine the object in a private collection.

Alongside provenance and transparency about the object’s condition, storytelling plays an important role in how we perceive value. I’d like to think that by sharing my own connection to Yakutia, I was able to contribute another layer to that story.

Why do you think objects have the power to spark such meaningful personal and cultural connections?

I think people naturally look for a sense of belonging, and that is how meaningful connections begin. The same applies to art.

Whether it is a painting, sculpture, or another medium, people are drawn to works in which they recognize a part of themselves: their memories, values, or aspirations. That recognition creates an emotional attachment.

Over time, these experiences shape our personal taste, which is never entirely innate but evolves through our relationships, cultural environment, and lived experiences. Thus, taste becomes both deeply personal and collective: it reflects who we are, but also the communities and stories that have shaped us.

Has this experience influenced the way you approach your studies or career aspirations in the art world?

It didn’t fundamentally change my career aspirations, but it certainly broadened my understanding of the art world. The fair showed me that today’s art market is also part of the wider experience economy. Alongside the artworks themselves, there were talks, curated tours, dinners, and many opportunities for visitors to engage with exhibitors and specialists.

Seeing how much planning, coordination, and teamwork goes into creating that experience gave me a new appreciation for the work that happens behind the scenes.

What has been the most valuable aspect of your MA experience so far?

What I’ve valued most is how the program combines academic learning with direct exposure to the industry.

Studying the art market in the classroom is one thing, but applying those ideas during my placement at Sworders Fine Art Auctioneers and through opportunities like Treasure House Fair has given everything much greater meaning.

When I started the program, I knew very little about how the commercial art world actually functioned. Although it’s impossible to learn everything in one year, I now have a much stronger understanding of the industry and the confidence to continue building on that foundation.

What advice would you give to prospective Sotheby’s Institute students hoping to make the most of their experience?

Stay curious, and don’t be afraid to ask questions, even if they seem obvious. One of the biggest surprises for me was discovering how approachable people in the art world are. Most professionals are genuinely happy to share their knowledge and experiences if you’re interested and willing to learn.

I’d also encourage students to make the most of being in London. The city offers extraordinary access to galleries, museums, auction houses, and art fairs, and those experiences outside the classroom have been just as valuable as my formal studies.

Take advantage of those opportunities at your own pace; you never know which conversation or visit might shape your future career.

Photos by Take Five