Tell us a little bit about Visual Contrast, and what drove you to start the company.
I started the company because I saw an opportunity to bring a new perspective to the B2B art world. All of Visual Contrast's art is designed with the end consumer in mind while also serving the spirit of the artist. Too often art serves the aesthetic and need of its distributor, limiting the scope and creativity of what is out there. The best part of our business model is connecting talented artists in LA with opportunities to share their work on a larger platform. It's really an excuse to do what I love to do, which is working with artists to create new ways of seeing, sharing and doing.
How do you stand out from your competition? What makes you different?
Our collaborative approach is what's different. You have me, a curator with a background in distribution, working closely with artists to create works that leverage their talent and my understanding of the market and customer. It's a great marriage of two perspectives that become one in the work. With that said, we're never too analytical about things. We let our imaginations run wild and hopefully the fun we have comes through in the playful nature of our exhibitions.
What experiences or relationships have impacted you most in your career?
The best part of the past year has been connecting with new artists. We're collaborating with a very talented group of people right now and have some great art in the works for spring and summer '18.
What is the biggest risk you taken with your business and what did you learn from it?
I don't really look at my business as a risk because I see the value in what we are doing and believe in our artists. Making art is inherently risky, people are always going to have an opinion and making art everyone likes defeats the purpose of sharing a perspective. We don't expect everyone to like everything, but hopefully, in our exhibitions, you can find something that resonates.
What advice would you give to a first time art buyer?
Buy what you like, not what you think you should like or have been told to like. You should feel like you can’t live without it.
What are some bad recommendations you’ve heard given to people about collecting art?
I’ve heard it many times….. collect art to make money. Or that you should buy something that you can sell in a few years. I think art isn't (and shouldn’t be) created as an object of speculation.
How do you define success?
Success to me isn't defined only by sales but by how the artists I work with feel about what they're making. If they feel good about what they're creating and the feedback they're getting from customers, then I feel great.
Outside of work, if you could be any where in the world right now, where would you be?
My wife and I have a top 5 list that we're chipping away at. In order of anticipation: Japan, the Amalfi coast, Berlin, Machu Picchu and taking her back to where I grew up- Bangkok.
If you had to pick two words to serve as a mantra for your life, what would they be?
Faith and love.
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