I conveniently enjoyed art before but it wasn’t until the auction of my grandfather’s art collection that I became aware of what fine art, quality art and the market value of art was. Out of all of the immersionist and Postmodern works encountered in my grandfather’s collection, to the modern and contemporary art of today, I remember first falling in love with contemporary art at the age of 19 when I was a student in New York at the Parsons School of Art and Design in a course that allowed me to discover fresh art within galleries and art shows.

While studying in New York, in one of my visits to MoMA, I discovered Richard Serra and his gigantic ton-weighing pieces made with sheets of oxidized steel. If you know about art, you’d immediately be able to identify his colossal pieces. I was fascinated by how they worked on both an architectural and an intellectual scale. Architecturally, I was interested in how serene and clean cut the pieces were and how simplistic the form was. Intellectually, the art spoke for itself. Richard Serra’s pieces were minimalistic yet weight bearing and the sheer size and scale was totally new for its genre.

Further to completing my BA at Parsons and when possible, I travelled to visit art events. The most memorable one was at the Venice Biennale in 2011. There I was mesmerised with artist Joana Vasconselos’ work at Palazzo Grassi. Her piece titled ‘Contamination’ was this gigantic patchwork of beautiful and vibrant materials, many handmade by Vasconselos herself, all sown together that took on a life of their own with arms and legs invading the staircases and the windows of the palace.

My voyages experiencing beauty, genius and truth in art across the world are what inspired me to start my own business, Artliner, in 2011. My objective was to continue bringing that same beauty to new audiences in a different and unexpected way. If art is a mirror of our humanity, it’s an output of where we are, where we’ve come from and what we’re going through. It’s highly important we value art in society, continually spreading awareness of beauty and truth through art, thus giving space to museums and institutions.

The audience Artliner targets ranges as it does not organise exhibitions, but placements of artwork that create an element of surprise and questioning to those who did not intend to come across works of art. Through Artliner, my aim has been to bring art to a new audience beyond the traditional museums and galleries. I wanted to bring art to new platforms, somewhere exciting and somewhere unexpected.

I organised Artliner’s first Exhibition at EBACE (European Business Aviation Convention and Exhibition) in Geneva, where I brought in a selection of Postmodern and contemporary works of art to the TAG pavilion, where private aviation clients are hosted during Europe’s most important business aviation exhibition. I worked with the Opera Gallery to exhibit a significant collection of original works of art by the likes of Joan Miró, Pablo Picasso, Damien Hirst, Jean-Michel Basquiat, Fernando Botero and many others.

In London I love visiting both TATE Museums. The Mayfair area is my one stop shop for gallery visits including Pace, Haunch of Venison, White Cube and many others. And if I find the time, I love catching up with friends over tea time at the Connaught.

The most recent art placement I organised was at the TAG Farnborough Airport, where I invited two celebrated British artists to showcase their artwork to coincide with the London Olympics; Damien Hirst’s iconic butterfly designs and spin and spot paintings, along with a striking sculpture by the designers of the Olympic torch, Edward Barber and Jay Osgerby. They created a wonderful light sculpture, which hangs in the main atrium of the airport – the beautiful chandelier was inspired by movement.

My ambition is to expand my projects and bring more art and beauty to different and unexpected settings.