Your model encourages people to discover and experiment with art at home. What barriers do you think have traditionally stopped many people from becoming collectors?
When you’re buying an original piece of art and often spending quite a lot of money on it, you obviously want to feel like you’re making the ‘right’ decision. But arriving at that level of comfort isn’t easy with a lot of traditional ways of buying art, and it’s also hugely time consuming for you as a buyer. There's some fantastic art to be found in high street galleries and fairs, but you really have no idea whether you’ll still like it after a few weeks, and often whether the piece will be a good physical or aesthetic fit when you get home. So, unfortunately, a lot of people simply give up, totally paralysed by choice, and live with empty walls despite being really enthusiastic about collecting.
The idea of living with an artwork before buying it feels revolutionary. What made you think there was room for a new way of discovering and collecting art?
In a way it came from Stephanie’s work with experienced collectors through her work at Tate and in private consultancy. Essentially, people with conviction and confidence have all immersed themselves in the art world to begin collecting, and often have experienced consultants to help them steer their collecting, which is such a great approach but not practical for most people. It was actually a long conversation while stuck in Los Angeles traffic when we started breaking down what options the buyer had to really discover new artists, grow their comfort levels and most importantly enjoy the process. Making things convenient and comfortable for the buyer was key to this and there is no better way of judging whether it’s right than living with it at home first.
Have you seen people completely change their minds about a piece once it's hanging in their home? What is it about living with art that can't be replicated in a gallery?
Yes! In both directions, and that’s precisely the point. We’ve had clients who instantly rave about a piece but after a few weeks realise that the piece doesn’t work for them and decide to go in a different direction. We’ve also had people who aren’t convinced about a piece really become attached over the 10 weeks and then buying. We often say to clients that we like the idea of falling in love at first sight, but realistically it’s just not something you can expect – so why would you expect it with art?
Many people assume collecting art is only for serious collectors or the very wealthy. What would you say to someone who feels they don't know enough about art to begin?
Collecting is certainly not only for the ‘serious' or very wealthy, and some of the most amazing private collections Stephanie has worked with have been lovingly collected in one-bedroom flats over decades by total novices on the outset. But it’s also disingenuous to pretend art is financially available to everyone, because it isn’t. Collecting quality original art can be pricey, and there are expensive mistakes to be made. All you need to begin is a curious and open mind, but we wouldn’t recommend jumping in with two feet straight away.
For someone buying their first piece of original art, where should they start? Should they think about interiors, investment, or simply buy what they love?
We would never recommend thinking about investment first, if ever. Buying what you love should be the absolute minimum. Going to an art fair can be a good place to go to get some inspiration for different styles of art, even if you don’t want to commit. In fact, we’d recommend taking your time and not buying straight away. We strongly believe collecting art buying should be a joyful process, not a stressful series of pressured transactions.
How far can a single artwork change the feel of a room?
We think art can transform pretty much any space. At least half of our clients are people who have recently moved or renovated, so often see how one or two pieces can totally change the look and feel of a room. We were working with a client recently who had meticulously renovated a Marylebone townhouse, which had been beautifully designed, but very much felt ‘unfinished’ without art. We placed a couple of pieces which brought quite a classic drawing room up to date with a more contemporary feel. Sometimes art can bridge a gap between styles or bring a level of interest to a room you can’t quite achieve with other elements.
Do people tend to choose art that matches their interiors, or do the most successful pieces create a little tension and surprise within a space?
It’s a mix, and in truth it doesn't matter. With clients on our curated service, we'll always carry out a consultation to ask what they want to achieve. Most people have some sort of interior or aesthetic goal but would like to be challenged and experiment a bit with different artists before closing to commit. Others have a clear idea of a look or energy they’re aiming for and want art to help them do that.
As a former Tate curator, Stephanie, what have you learnt from seeing how people actually live with art in their homes, rather than encountering it in museums and galleries?
Galleries and museums are great places to encounter so many different types art – whether you love it, loathe it or think that ‘I could do that myself’! Exhibitions give us the opportunity to learn about history through the lens of art. Art in our homes, however, is so much more personal. It’s something that we’ve decided we want to see every day and share with the people we invite into our spaces. Pieces often are a reflection of our character or a moment in our lives.
For readers who are curious but nervous, what is the one thing you wish everyone knew about collecting original art?
You can look at a piece of art and just love it. There doesn’t need to be a deep and meaningful reason as to why you enjoy it; we need to get comfortable with the fact that it can just be as simple as it brings you joy or you love the colour.
If you could place one artwork in every British home, what role would you hope it would play in people's daily lives?
The privilege of having art at home is that you get to encounter it every day, through different seasons and different times of the day so we get to literally see it in a different light all the time. Taking small moments to discover a new detail or a slight change of colour in a piece can be such a grounding experience.
Was there a particular artwork that changed the way each of you thought about art?
Stephanie: During one of my first weeks of working at Tate, there was a big retrospective of artist Fahrelnissa Zeid who was pivotal in the avante garde movement in the 1940s. I’d not heard of her until this exhibition and as I stood in front of a piece called Resolved Problems – a huge and kaleidoscopic abstract artwork, its colour really packs a punch – I just loved it. I’d not really enjoyed abstract art until that point but there was something that just unlocked for me and it filled me with intense emotion.
Ben: Mine was the first piece of art we bought together, maybe 10 years ago, by a contemporary portrait artist called Samira Addo. Back then my perspective on art was quite narrow and I thought having portraits of other people in your home would be weird, but I still love it every time I look at it. It’s so different and full of expression.
What has been your most surprising 'I didn't expect to love this' piece?
During a consultation a client had been adamant that they hate photography and so over the next few months I wouldn’t suggest any such pieces. But part of my job is to challenge and push the boundaries of what clients think they might like or could like, so I tested the waters and suggested a photography piece that looked so painterly it was at first unrecognisable as a photo. They fell in love with it, realising moments later that it was a photograph and bought it on the spot.
Do you think we're moving towards a culture where people treat art more like books – something to live with, swap and continually discover?
Art, like books, can shape our thinking and the way we view the world and it’s increasingly becoming a popular visual way to communicate that with others. Sharing our experiences through art whether it’s a photo of a piece on social media, or a post card sent to a loved one, they are snapshots of the way we signal to others who we are and where we’ve been.
What are the signs that you're ready to commit and actually buy the artwork you've been living with?
When the thought of not seeing it every day or someone else buying it becomes too much to bear!
FAQs: Interrupted Art
What is Interrupted Art?
Interrupted Art is a UK art discovery platform that allows people to borrow original artworks to live with at home before deciding whether to purchase them, helping collectors make more confident choices.
How does borrowing art before buying work?
Rather than making an immediate decision in a gallery or online, you live with an artwork in your own home for an extended period. This gives you time to see how it looks in different light, alongside your interiors and as part of your everyday life.
Who is Interrupted Art for?
It's designed for everyone from first-time buyers who feel unsure where to start to experienced collectors looking to discover new artists in a more considered way.
Do I need to know a lot about art before collecting?
Not at all. Ben and Stephanie believe curiosity matters far more than expertise. The most important thing is taking time to discover what genuinely resonates with you.
Should I buy art as an investment?
The founders advise against making investment your primary motivation. Their view is that you should first and foremost buy work you love and want to live with every day.
Can original art really transform a room?
Yes. A carefully chosen artwork can completely alter the atmosphere of a space, adding personality, warmth and visual interest, and often helping to tie different interior styles together.
Does art need to match my interiors?
No. While some collectors want art that complements their décor, others prefer pieces that introduce contrast and surprise. The best choice depends on the feeling you want your home to have.
Why is seeing art at home different from seeing it in a gallery?
A gallery visit is only a brief encounter. Living with a piece allows you to experience it across different times of day, changing seasons and everyday moments, often revealing details you wouldn't otherwise notice.
What's the biggest mistake first-time collectors make?
Feeling pressured to buy too quickly. Ben and Stephanie recommend visiting galleries and fairs, exploring different styles and allowing yourself time before committing to a purchase.
How do you know when you've found the right artwork?
As Ben and Stephanie put it, you'll know when the thought of someone else buying it—or no longer seeing it every day—feels like a genuine loss. That's usually the clearest sign it's meant to stay.
