This interview is with THERY Jean Christophe, CEO, MUSAARTGALLERY.
To start, how do you describe your role and focus in modern art at Musa Art Gallery (and CANVASBASE OU) to someone meeting you for the first time?
I’m the founder of Musa Art Gallery, and I usually describe my job as a mix of curator, creative director, and the person ensuring that the whole operation runs smoothly.
On the art side, I focus on modern pieces that feel bold yet are still easy to live with. I aim for art that makes a room feel finished, rather than just hanging “something” on the wall. I am quite particular about composition, colors, and how a piece looks in a real home, such as above a sofa or in a bedroom.
On the business side, through Musa Art Gallery, I handle the behind-the-scenes aspects — collections, website management, product quality, and the customer experience from order to delivery.
The goal is simple: to make modern art feel accessible, premium, and genuinely enjoyable to purchase.
Looking back, what key experiences most shaped your path into gallery leadership and your curatorial voice today?
The first key experience was realizing that art isn’t just “nice to look at”; it has to work in a real home. I spent a lot of time thinking about how a piece feels above a sofa, in a bedroom, in a hallway—not just how it looks on a white gallery wall. That changed the way I choose pieces. I’m always asking: Would someone actually want to live with this every day?
Another significant experience was making early mistakes. At the start, I tried too many styles at once. It felt creative, but the collection didn’t feel focused. Over time, I learned that a clear point of view matters: a tighter selection, strong composition, modern colors, and pieces that make a statement without feeling chaotic.
Honestly, customer feedback shaped me more than I expected. Watching what people buy, what they hang, and what they come back for taught me what resonates in real life. Now my goal is to curate art that feels modern and premium, but still personal and easy to connect with.
Shifting to planning, what do your first 30 days look like when developing a new exhibition from concept to opening date?
The first 30 days are essentially about clarifying the vision before I get lost in the details.
In the first week, I’m focused on determining the direction. What’s the mood of the show? What do I want people to feel when they walk in? I’ll build a mood board, collect references, and identify the “thread” that ties everything together.
Week two is when I start selecting the key pieces. I look for a few strong anchor works first—those that essentially define the entire exhibition. I don’t try to fill every wall yet; I’d prefer to have 5 amazing pieces rather than 30 “okay” ones.
Week three is focused on the flow. What goes next to what, where the eye should initially land, and where the space needs to breathe. This aspect matters more than people think. The order changes how the entire exhibition feels.
In week four, reality sets in with production tasks: printing, framing, labeling, installation planning, and final checks. I also start preparing the launch content to ensure the opening doesn’t feel rushed or last-minute.
The objective of the first month is simple: finalize the concept and the main pieces early, so the remainder of the process is execution rather than chaos.
From there, what specific criteria do you rely on to decide whether to represent an artist or include a work in a show?
For me, it’s a mix of gut feeling and a few “non-negotiables.”
First, the work has to hit me fast. Not like loud or shocking… just that feeling where you stop scrolling and go, “Okay, that’s something.” If I have to talk myself into liking it, it’s usually a no.
Then, I look for consistency. One strong piece is great, but I want to see a real body of work. The artist needs to know what they’re doing and be able to repeat that level, not just get lucky once.
I also think a lot about how it lives in a real home. Some art looks incredible in a gallery, but in a bedroom or living room, it feels too busy, or the colors don’t work. I’m always imagining it above a sofa, in a hallway, in normal light… not perfect studio lighting.
Originality matters too. It doesn’t have to be “never seen before,” but it needs its own voice. If it feels like a copy of whatever trend is hot this month, it won’t last.
Lastly, the artist has to be solid to work with: communication, deadlines, and being reliable. Great art is amazing, but if the collaboration is chaotic, it turns into stress real quick.
On digital engagement, which recent online, e-commerce, or AR experiment most moved the needle for you, and why?
The digital solution that proved most effective was, honestly, making it easier for people to envision the art in their own spaces.
It wasn’t even about utilizing some advanced AR technology. It was more about providing better real-room mockups, clearer size examples (for instance, “this is 60×90 above a normal sofa”), and encouraging people to use a simple phone trick: screenshot the artwork and hold it up against their wall.
It may sound basic, but it addresses the biggest fear associated with wall art: “What if it looks wrong when it arrives?”
Once people can visualize it, they stop hesitating. We received fewer “what size should I buy?” messages and saw fewer abandoned carts, particularly for larger pieces where customers typically overthink their decisions.
On measurement, which single metric do you watch most closely to stay data-informed without losing the gallery’s soul?
If I had to watch just one metric, it would be conversion rate.
Not because I want to run the gallery like a robot, but because it’s a pretty honest signal. It tells me if people are actually connecting with the work or if they’re just scrolling, enjoying it, and leaving.
If traffic is up but conversion is dead, something’s off. Maybe the curation isn’t clear, maybe the pages aren’t answering basic questions, or maybe the vibe isn’t landing. When conversion improves without me doing anything pushy, it usually means the art and presentation are doing their job.
So, yeah, conversion rate keeps me grounded, but it doesn’t kill the soul.
Operationally, what system or cadence helps you scale while preserving authentic, long-term relationships with your artists?
What helps me scale without losing the human side is keeping a simple rhythm with artists—not only messaging them when I need new work.
I’ll do quick monthly check-ins. Nothing formal. Just “here’s what’s selling, here’s what people are reacting to, and here’s what I’m thinking next.” It keeps the relationship warm instead of transactional.
I also keep things organized on my side: one document per artist with file specs, deadlines, pricing, past launches, and notes on what worked. This way, I’m not creating chaos or asking the same questions over and over.
And honestly, the biggest thing is trust: pay on time, be clear, and present their work properly. Artists can feel when you treat them like a partner versus a content machine.
For emerging collectors, what is the first practical step you recommend they take this month to start building a meaningful modern art collection?
The first step I’d recommend is really simple: pick one wall in your home and choose one piece you actually love.
Don’t start by trying to “build a collection” like it’s a big serious thing. Start by learning your taste. Buy something you’d be happy seeing every day, not something that just looks trendy online.
A quick trick: screenshot 10–15 artworks you’re drawn to, then look at them all together. You’ll usually notice a pattern (same colors, same vibe, same style). That’s your starting point.
Then buy one strong piece in that direction. Hang it. Live with it for a bit. You’ll learn more from that than from endless scrolling.
Looking ahead 12–24 months, which art trend or shift in gallery management do you expect to matter most, and how are you preparing for it?
I think the biggest shift over the next 12–24 months is that galleries will need to act more like real brands, not just places that “have art.”
People are overwhelmed. There are too many options, too many styles, and too much noise. So I don’t think the winners will be the galleries with the biggest catalog. It will be the ones with a clear point of view. When you land on the site, you should instantly feel the taste.
Discovery is changing too. More people are finding art through short videos, AI search, and “I want this vibe in my apartment” browsing—not by searching an artist’s name.
So I’m preparing by tightening everything: fewer filler pieces, stronger collections, better room mockups, and clearer size guidance so people can actually picture it. I want the gallery to feel like a confident guide, not a giant warehouse of options.
Thanks for sharing your knowledge and expertise. Is there anything else you'd like to add?
One last thing I’d add: modern art doesn’t need to feel intimidating.
A lot of people think they have to “get it” first, or they’re scared they’ll pick the wrong piece. But the best way to build a collection is honestly just one piece at a time. Buy something that fits your space and that you still love a week later, not something you feel pressured to like.
Go slow. Trust your taste. That’s how you end up with a home that feels like you, not just a wall full of trends.