The other Fabrizio has a very specific area of expertise. How did you find a point of entry into the realm of Old Masters?
When we first fell into this sort of back and forth, I realized it would be interesting to play on that—this idea that we have this very similar identity card and such different identities. I thought maybe we could explore the modes of perspective, and then perspective kind of spilled all throughout this thing. He’s an Old Masters dealer, and I’m not a scholar in that sense by any means. I’m more of a contemporary art fan, but I do appreciate a good painting. The interesting thing to me was: Could we modernize these Old Masters paintings, just by the way that they're viewed? I wanted to build something like a modern maze that could foster a more personal relationship between the viewer and the artwork. Most of it is built so that only one person can see at a time, like a kind of confessional where you actually have to kneel to reveal the painting. That kind of genuflecting gives a fresh perspective, but it also harkens back to the original intent of the paintings. It’s almost like an area where you ask for forgiveness, so for that one I chose three or four paintings that are more religious.
Do you collect art?
I have several pieces I consider art, and several pieces that I bought. One is a Vanessa Prager, and another is an abstract photograph by Richard Caldicott, which is actually of tupperware. And I've been looking at the Sotheby’s app, which is really cool. The idea of owning art doesn't seem like such a distant prospect anymore thanks to these guys.
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