‘Collectors’ journeys into the homes of fledgling and seasoned art buyers from across the globe. The ongoing series offers an intimate spotlight on a range of personal collections from hobbyist ephemera to blue-chip artworks — all the while dissecting an individual’s specific taste, at-home curation and purchase trajectory.
From the very beginning of his journey as a gallery owner, Pablo Villazan of VILLAZAN Gallery had a clear mission in mind: to work alongside high-potential emerging artists, nurturing their talents and advancing their professional careers together. Recognizing the limitations of working with established artists already affiliated with international galleries, he saw an opportunity to build something from the ground up, where both he and the artists had nothing to lose and everything to gain.
Pablo’s involvement in the “Cuteism” movement was driven by his fervent desire to explore and discover new artists and artistic trends. Immersed in his exploration, he stumbled upon a fresh and unconventional style that was largely overlooked by other galleries. Delving deeper into the works of these artists, he became enamored with the hidden beauty and intricate details that were often overlooked at first glance. His gallery became the first in New York City to fully embrace and showcase this artistic movement, establishing Pablo as an integral part of the “Cuteism” artistic boom in the art market.
The response from collectors and the art scene to the artists showcased through Pablo’s gallery has been overwhelmingly positive. The carefully curated selection of emerging artists has captured the attention and admiration of art collectors, leading to the rapid rise of these artists within the contemporary art scene. Pablo considers himself fortunate to have a keen eye for recognizing the potential in unknown artists and bringing them to the forefront of the art world.In addition to his work as a gallery owner, Pablo has also made a name for himself as a curator, organizing exhibitions in prestigious museums, institutions, and galleries. His passion for curating extends beyond mere display; he aims to present the multidisciplinary nature of the artists he works with, fostering a dynamic conversation between the artist’s universe and the viewer. His exhibitions have received widespread acclaim, with one notable highlight being his exhibition at the MoMA Museum in Moscow, where expectations were exceeded by a large margin.
While Pablo’s gallery is synonymous with the “Cuteism” movement, he has recently set his sights on expanding the program to include artists outside the confines of this specific style. He aims to showcase a broader range of artistic styles, including abstract art, surrealism, and new figurative realism. The response to these changes has been remarkable, with both artists and collectors embracing the evolution of the gallery’s program.
Pablo’s unwavering dedication to bringing unknown artists into the art scene and ensuring their success has not come without challenges. Convincing collectors to invest in the work of artists they are unfamiliar with has required persistent effort and careful articulation of the artists’ unique qualities. However, his confidence and the trust placed in him by his loyal clients have proven invaluable in overcoming these challenges.
In addition to his work as a gallery owner and curator, Pablo also maintains a personal art collection that spans a diverse range of artists and styles. His collection reflects his own personal tastes and preferences, with works by both established artists such as Damien Hirst, Yayoi Kusama, Andy Warhol, and Jean Dubuffet, as well as emerging talents like Edgar Plans, Daniel Arsham, Bozó, Samuel Salcedo, Jordy Kerwick, KAWS, Stickymonger, Roby Dwi Antono, Willem Hoeffnagel, Baldur Helgason, Tania Marmolejo, and Ana Barriga, among many others.
Pablo’s experiences in the art world have significantly influenced his personal taste in art and the artists he chooses to collect. While he primarily collects the artists associated with his gallery program to support their careers, he also enjoys collecting works by artists outside of his gallery’s program, showcasing his diverse appreciation for art. And when it comes to displaying his collection in his living and working spaces, Pablo places great importance on achieving harmony. He approaches the curation of his collection with meticulous care, ensuring that each piece has room to breathe and is showcased in a visually pleasing and balanced manner. Overloaded spaces are avoided, allowing the artworks to shine and create an inviting atmosphere.
Pablo’s personal art collection continues to evolve, presenting new opportunities for exploration and discovery. He particularly gravitates towards underrepresented voices in the art world, including LGTBIQ+ artists who fearlessly express their emotions, passions, and fears. He has prepared a duo exhibition featuring these artists, providing them with a platform to amplify their voices and make a meaningful impact.
For our latest ‘Collectors’ spotlight, we probe deeper into Pablo Villazan’s personal art collection that sparks conversations, and inspires both seasoned and budding art enthusiasts alike.
“I have always played an active role in the ‘Cuteism’ movement.”
Can you tell us about your journey as a gallery owner and your mission to work with high-potential emerging artists?
From the very first moment that I decided to open my own gallery, my mission was to work with high-potential emerging artists and to develop our professional careers together. On the other hand, I couldn’t aspire to work with established artists because they already worked with other international galleries. We all started from scratch, so we had nothing to lose and were eager to work and eager to dream.
How did you become involved in the “Cuteism” movement, and what led you to bring artists from this artistic boom to New York City?
I have always played an active role in the ‘Cuteism’ movement. In fact, my gallery was the first gallery in New York which was initially linked to this artistic style. I am considered an essential part of this artistic boom in the art market.
What has been the response from collectors and the art scene to the artists you have brought to the forefront through your gallery?
Fortunately we have received a very positive response from the art collectors to the artists we have brought into our program. Nevertheless it is true that there is great assessment behind each decision and precisely for this reason most of these artists are now great representatives of the contemporary art scene. This has always made me feel very lucky, as ‘my eye’ has always been highlighted for bringing new artists to the art scene.
“My ‘eye’ has always been essential when choosing which artists I would like to work with. I would say it is almost part of my intuition.”
What made you take the risk of working with unknown artists and betting on their potential before they gained recognition in the art market?
I was never afraid to start working with artists that most of the collectors didn’t know about. Artists that other galleries did not want to bet on until they were listed on the art market. Whenever I saw something special in an artist, I would bet on them.
Could you share some insights into your experience curating exhibitions in museums, institutions, and galleries, including your exhibition at the MoMA Museum in Moscow?
I love curatorship in its broader sense. In the exhibitions that I participate as a curator, I contribute with my view on the art world. I am passionate about showing the multidisciplinary nature of the artists I work with. You can see paintings, drawings, sculptures, projections, etc., all in order to keep a conversation between the universe of the artist and the viewer. In general all the experiences have been quite positive. In the particular case of the MoMa, the expectations were set very high and we still managed to exceed them by far.
How do you select the artists you choose to represent and showcase in your gallery? What criteria do you look for in emerging artists?
My ‘eye’ has always been essential when choosing which artists I would like to work with. I would say it is almost part of my intuition. I like to combine the projects of emerging artists that are not known in the market with the more consolidated ones that I usually work with. Both projects have the same goal, which is to help the artist’s career to grow.
“I wanted my loyal clients to trust my instinct when choosing the ‘unknown’ artists for my gallery program.”
Can you discuss the impact of international launches and developments of artists outside of the “Cuteism” movement in your gallery’s program?
Since a while ago the idea of expanding the artists program of my gallery was on my to do list. I am an art lover in general and I do not want to limit my program to any artistic style or movement. It is true that I already work with the best artist in Cuteism and that style is what many of my clients love and demand, but I want to go further. I want to continue with the best and be able to offer to the gallery collectors the opportunity to discover and love the work of other artists outside the box. Our program has evolved and has opened doors to abstract art, surrealism and the new figurative realism. The response to these changes is being incredible both from artists and collectors, and I am thankful for their trust.
What challenges have you faced in bringing unknown artists to the art scene and ensuring their success in sold-out shows?
Obviously, I have faced challenges. Probably the biggest one was to work so hard to make the collector understand the artists’ work and why they should invest in them. I was never 100% sure these artists were going to be loved by the collectors. But I remain confident and, most importantly, I wanted my loyal clients to trust my instinct when choosing the ‘unknown’ artists for my gallery program.
As a gallery owner and curator, do you also have a personal art collection? If so, could you tell us a bit about it?
Yes, I started collecting long ago while in college. The first pieces of my collection were abstract paintings by Spanish artists like Bonifacio or Mompó. Today in my collection stands out the plurality and span of artists and styles. I have works by Damien Hirst, Kusama, Andy Warhol or Dubuffet that converse with pieces by Edgar Plans, Daniel Arsham, Bozó, Samuel Salcedo, Jordy Kerwick, Kaws, Stickymonger, Roby Dwi Antono, Willem Hoeffnagel, Baldur Helgason, Tania Marmolejo or Ana Barriga among many others.
“The most important criteria to me is to like the piece.”
How has your experience in the art world influenced your personal taste in art and the artists you choose to collect?
Not really. I usually collect all the artists that join our program in order to support them; but I also enjoy collecting other artists that I do not work with.
Are there any particular artists or artworks that hold a special place in your personal collection? If so, what drew you to them?
There are many, both artists and specific art works. It would be hard to name you one. They all speak to me in some way and that is the reason why I was attracted to them in the first place. Depending on my state of mind, some works mean a lot to me at a specific moment and others at another.
In terms of collecting art, do you have any advice or insights for aspiring collectors who are interested in building their own art collections?
Yes! They have to check my gallery program. The best advice I can give someone who is starting to collect is to buy something he likes and wants to live with. The appreciation at the secondary market is very good, but it is useless if you have something at home that the only value it has is economic and it does not tell you anything else.
What are your criteria or considerations when acquiring artworks for your personal collection? Are there specific themes, styles, or mediums that particularly resonate with you?
The most important criteria to me is to like the piece. The story behind the work or the artist is also very important. I need them to convey a message. It is something indispensable.
“I love working with artists who freely express their feelings, passions, and phobias without expecting anything in exchange other than for their voices to be heard.”
How do you navigate the balance between collecting art for personal enjoyment versus investing in potential future value?
If you collect something you love, you have already won. Investments in art are highly fluctuating, so the investment may make you lose money, but if you like the piece, you never lose. We have to be honest and acknowledge that every collector likes to see how the works in their collection increase their value, even if they are not interested in reselling them.
Are there any specific emerging artists or underrepresented voices in the art world that you are particularly excited about and have added to your personal collection?
Yes! I love this question because very few people know that I enjoy to collect and, most importantly, support LGTBIQ+ artists. Artists who freely express their feelings, passions, and phobias without expecting anything in exchange other than for their voices to be heard. I wanted to go further in this initiative and I have prepared a duo exhibition of artists who have a lot to say with their work.
Are there any specific emerging artists or underrepresented voices in the art world that you are particularly excited about and have added to your personal collection?
Yes! I love this question because very few people know that I enjoy to collect and, most importantly, support LGTBIQ+ artists. I love working with artists who freely express their feelings, passions, and phobias without expecting anything in exchange other than for their voices to be heard. I wanted to go further in this initiative and I have prepared a duo exhibition of artists who have a lot to say with their work.
“I need everything to be harmonious and I completely run away from overloaded spaces.”
How do you approach the display and curation of your personal art collection in your own living or working space? Do you have any favorite pieces that you enjoy showcasing?
I like harmony at home. I take the curation of my personal collection in my space very seriously. I am a decoration lover. I need everything to be harmonious and I completely run away from overloaded spaces. Art works should be able to breathe when hanging either at home or in a gallery space.
Has your personal art collection ever sparked conversations or connections with artists or other collectors that have led to new collaborations or opportunities within the art world?
My private collection has allowed me, above all, to enjoy the artworks with other collectors who began as gallery clients and have become friends with whom I share long conversations about the Art World and everything that surrounds it. We organize breakfasts or dinners at home to talk about Art.
All photos by Pablo Villazan for HypeArt.
