Contemporary art, closely read.
Criticism and journalism on contemporary art. Private viewings at Art Basel and Frieze for collectors, family offices, corporate and institutional collections. Studio and gallery visits by introduction. Editing for galleries and institutions.
Writing for Whitewall and Artsy. Oxford University, London Business School, formerly Christie’s. Based in London, working internationally.
Selected Writing
Whitewall, July 2024. The collector and philanthropist on Venice, patronage, and why he built an institution as well as a collection.
Whitewall, June 2026. The presentations that argued a point, through art history, cultural memory, and material innovation.
Whitewall, July 2024. Mehretu on twenty-five years of work, and how a retrospective with the Pinault Collection was built.
Art reveals more when you know where to look.
I write about contemporary art, edit the texts that surround it, and take collectors, family offices and institutions through it.
My criticism appears in Whitewall and Artsy, reported from Basel, Venice, Brussels, Doha, Paris, Berlin, St. Moritz and London. I have interviewed Antony Gormley, Yinka Shonibare, Robert Longo, Raqib Shaw and Alicja Kwade, among others, and my writing is cited by Pace, Thaddaeus Ropac, Lehmann Maupin and Pilar Corrias.
I read Archaeology and Anthropology at Oxford, hold an MSc from London Business School, and have a background at Christie’s: an anthropologist’s eye, an auction house’s grounding, a critic’s independence. London is my base and my home, and I work wherever the calendar takes me, in English and Russian.
Services
Private viewings. Art Basel and Frieze, the biennial calendar, and the London, Berlin and Paris gallery seasons; other fairs and cities by arrangement. Half a day or a full day, planned around what you hold or want to test: a written briefing in advance, a route through the fair, introductions on the floor, and a note afterwards on what we saw and what it meant.
Studio visits. Time with artists where the work is made, by introduction, shaped around your collection or your questions. London, Berlin, Paris and around the fair weeks; other cities by arrangement.
Market orientation. How the field is structured, in plain terms: how a fair is built, how galleries price and place work, how reputations form and how to read them. On its own, or as the frame around a viewing. For collections teams, patron groups and companies.
Writing. Criticism, interviews and reporting from exhibitions, fairs and biennials. Recent subjects include Nicolas Berggruen, Julie Mehretu and Art Basel 2026. Commissions from magazines, galleries and institutions.
Editing. Catalogues, essays, press releases and exhibition texts: developmental editing, copyediting and proofreading. Built around opening and print dates.
How I work. I am a critic, not a dealer. I do not sell work, and I am not paid by the galleries or artists we visit: my fee comes from you, fixed and quoted in advance, by the day or by the project. Discretion is assumed, and names, holdings and intentions stay private. Sessions in English or Russian.
Enquiries
For private and institutional viewings, studio visits, writing commissions and editorial projects, please get in touch. Tell me what you collect and when you are travelling, and I will come back with an itinerary and a fee. Dates around Art Basel and Frieze are best arranged well in advance. All enquiries are considered personally.