Part I
For decades, the world’s major banks and wealth management firms have approached the art market with a singular obsession: blue-chip art. Picassos, Basquiats, Warhols, Rothkos, Monets, and Koons have become the preferred instruments of prestige finance. Banks built advisory divisions around them, structured lending products against them, and promoted them as alternative assets to ultra-high-net-worth clients. In doing so, they believed they were chasing safety, liquidity, and prestige.
Whats Lie Beyond the Visible
“My work explores the sense of displacement I have experienced through themes of cultural identity, the concept of home, material ritual, and material history. By sharing my personal experience, I […]