A background in Neuroethics led Émilie to assemble a collection with a focus on perceptual minimalism. Fascinated by Phenomenology and Neuroaesthetics, she was drawn to wonder how the human body perceives an artwork in space. Her first acquisition, in 2012, was an Incomplete Open Cube (1974) by Sol LeWitt. Since then, building on the eclectic collection of her grand-mother Claire De Pauw, she has been trying to gather works calling attention to the viewer’s experience. And if most of the acquired pieces are from the 1960s, she is keen to discover living artists who are pushing these groundbreaking approaches further. Also, given the nature of certain artworks – kinetic pieces, light or sound installations – Émilie decided to host them in a house in Brussels, where she is from, and to welcome people who share these interests. In London, she is a member of the Whitechapel Gallery Commissionning Council.

Specializing in 20th and 21st century art, Anne-Hélène Decaux has built a distinguished career in the art world, combining curatorial expertise with a deep understanding of art markets and institutional relationships.
Before assuming her current role, Anne-Hélène led the Post-War and Contemporary Art Department at Sotheby’s Paris and further refined her expertise at Gagosian Gallery.
An active curator, Anne-Hélène began her career with the Aga Khan Foundation and collaborated with Wild Touch, a prominent French NGO dedicated to climate change awareness. She curated impactful exhibitions that merged art and advocacy.
Anne-Hélène is also the President of Thanks for Nothing, a Paris-based NGO fostering dialogue and action between art and social engagement, exemplifying her commitment to using art as a force for change.