How did your interest in photography begin?
As a child, fueled by a vivid imagination and an insatiable curiosity about the world around me. I envisioned photographers' lives as a fascinating adventure, a profession that allowed them to be at the center of the most important events and surrounded by influential personalities who shaped the course of history. Photographs became my portal to distant places, diverse cultures, and historical moments. I often wonder: what would a world be like if suddenly all images disappeared and we started from scratch? Images are a universal language that transcends cultural and linguistic barriers, allowing us to share experiences and emotions. In conclusion, my interest in photography was born from a combination of childlike fascination, innate curiosity, and an appreciation for the power of images to connect us with the world and its history. I studied part of my Law degree in Paris and living there as a young man marked me forever. I spent all day going from exhibition to exhibition, from concert to concert, walking around and enjoying culture to the fullest. I spent my days at the Louvre, the Jeu de Paume, the Musée d'Orsay.
How did you become a gallery owner?
It all began when I stopped practicing as a lawyer to manage the Elite modeling agency in Spain, which was my first real approach to photography. Six years later, I took another step by opening a representation agency for photographers, which I have maintained for 20 years. This experience allowed me to fully immerse myself in the world of fashion and advertising photography. In parallel, my wife Michelle Ferrara and I began collecting photography. She, who was one of the most important models at the turn of the century, starred in our first acquisitions, portrayed by the greats of fashion photography such as Paolo Roversi, Peter Lindbergh, David LaChapelle, Mario Testino, Craig McDean, Steven Meisel, and many others. I vividly remember when Roversi gave me some wonderful prints; I was fascinated not only by the image itself but also by the photographic object, the physical copy.
How did you transition from collecting to running a gallery?About 18 years ago, Michelle and I decided to expand our collection beyond the personal. We made a big move by purchasing a piece by Bruce Davidson and a triptych by William Klein at Art Basel from Howard Greenberg, who is now our great friend and a gallerist. As I delved deeper into collecting, my curiosity grew about understanding market mechanisms and the reasons behind the value of photography. One thing led to another; the more I knew, the more I wanted to know, and the more I realized how much I still had to understand and connect the dots. It has been a journey of years seeing exhibitions, buying books, talking to gallerists, meeting photographers, and attending fairs. One day I said to myself: "I'm going to open a gallery." And not only that, I decided to do it in my house, in a small town in Andorra.
Does being a photographer yourself give you a different perspective compared to a gallerist who only focuses on commerce?
I believe my experience as a photographer allows me to empathize and understand the artist in a closer way. It's not just about appreciating the aesthetics of a work, but intimately understanding the technical and creative challenges that each photographer addresses. This connection helps me communicate better with artists and establish stronger relationships of trust. I've noticed that photographers accept me more easily because they understand that I can put myself in their shoes. I admit that running a specialized gallery is not something I do with a speculative vision or to get rich. My bank account would probably be different if I dedicated all my effort and energy to selling apartments, for example. But my passion for this medium surpasses any purely commercial consideration, which is reflected in the quality and authenticity of the exhibitions I present. One of the most rewarding aspects of my position is that I live with the work at home. The photographs not only occupy the gallery space but are integrated into my daily life.
Is there any category that has experienced a significant boom?
Photobooks have been and continue to be a fundamental element in the development and promotion of photographers' careers. They not only serve as a platform to show an artist's work cohesively but also play a key role in galleries' strategies to promote their represented artists. Their importance lies in their ability to present a photographer's work in a narrative and contextualized way, allowing a deeper exploration of their style and themes.
Which photographers, historical or lesser-known, excite you?
The ones we have exhibited: Joel Meyerowitz, Ray K Metzker, Sarah Moon, Saul Leiter, Bruce Weber, Ramón Masats, Steven Meisel, Vivian Maier, Bruce Davidson, William Klein, William Wegman, and those to come, like Txema Yeste who fuses photography and sculpture. We are working to exhibit Todd Hido and hope to do so soon with Peter Beard.
What have been the most interesting technical developments?
Photography has not stopped evolving since its invention and will continue to do so. What's important to me is the final result rather than technological novelty. I always say that you can take wonderful photos with a shoebox.
How could the emergence of Artificial Intelligence affect the art photography market?
I have seen and been proposed some very interesting works where a photographer has relied 100% on AI. At the moment, I have to say that personally, nothing I've seen has excited me enough to want to acquire it and live with it.
Your gallery participates in international fairs such as Paris Photo or Aipad New York. What interest does Spanish photography generate outside our borders?
We are proud to actively participate in exporting Spanish photography. In our first participation at Paris Photo in 2024, we did a solo show of Ramón Masats, and in the upcoming Aipad in New York, we are going to present Txema Yeste. But we don't exhibit them out of patriotism, rather because we believe in their work and we're not afraid to take risks and bet on artists unknown abroad.
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