Among London’s new generation of collectors, Louis Jacquier is also the co-founder of Tiderip, one of London’s newest galleries. The Art Collector spoke with this young collector about the importance of building relationships with artists and galleries, and how these connections influence collecting.
What was the first art work you bought? Do you still have it?
It all started in my teens with a drawing by Jean-Philippe Delhomme. I often saw a large painting of his hanging in my favourite café in the Jardin du Palais Royal in Paris, and at the time his illustrations were appearing regularly in GQ as witty commentaries on contemporary society. I contacted his gallerist, who was surprised to see a fifteen-year-old show up at the gallery and took the time to walk me through Delhomme’s practice and the ideas behind his work. I went through the available works and found one that immediately resonated with me. I still have it today, and in fact I have never sold any of the pieces in my collection. That first acquisition set the tone for my collecting, keeping it personal and always guided by genuine connection.
Can you tell us about your collection, and which 3 works stand out most to you?
Although I’m still at the beginning of my collecting journey, a few works already capture what excites me most. One is Lunar Morphosis by Olivia Martha, an oil on canvas merging elements of her Curaçaoan heritage with a theatrical sense of perspective. It creates a metaphysical atmosphere that drew me in instantly. Another is Accademia di Bella Arti di Firenze, Dome by Gus Monday, a diptych depicting Michelangelo’s David encased in bricks during WWII to shield it from bombings. I was especially drawn to his use of transparency to turn a historical image into something surreal and fragile. Finally, Soulmate (Study) by KV Duong, made with the unusual medium of stretched latex rendered in acrylic and ink, struck me as experimental yet deeply intimate. Together, these three pieces reflect what I look for as a collector: technical sophistication, compelling stories, material experimentation, and above all an emotional resonance that stays with you.
Which emerging artists are you particularly excited about right now?
One artist I am particularly excited about is Jordan Rubio, who recently graduated from the Royal College of Art. His latest body of work manages to be both haunting and playful, offering an introspective look at identity and human conflict. What draws me in is the tension in his work, which feels unsettling yet tender. I have also come to know Abdollah Nafisi, who creates striking sculptures from fallen trees and rejected industrial steel, transforming discarded materials into something poetic and enduring. I admire the way his practice bridges fragility and strength, and his work will be featured at Frieze London this October.
Why is it important for collectors to support emerging artists?
Emerging artists are often at the most formative stage of their careers, when they are experimenting freely and defining their practice. Supporting them at this moment is one of the most rewarding aspects of collecting because you are encouraging growth right when it matters most. I have met artists who were still searching for their practice when I first visited their studios, and after returning several times and attending their exhibitions, I have watched them gain confidence and clarity about their work. One of the great joys of collecting is seeing that evolution, as artists find their voice, reach new audiences, and build momentum.
You have a background in finance. How does this influence your collecting style?
My background in finance has taught me that analysis is essential, but only gets you so far without strong relationships, and I find the same to be true in collecting. I spend a lot of time with artists, both in and out of their studios, looking for a sense of connection not only with their work but also with the way they think and create. Often the way an artist speaks about their creative process can open up an entirely new layer of understanding. So while finance gives me analytical rigor, my collecting is shaped just as much by relationships, instinct and emotion.
What do you think London offers collectors today, and what could be improved?
London offers collectors an endless source of discovery. From institutions and fairs to Cork Street galleries and East London artist studios, the city constantly sparks curiosity. What could be improved is the visibility for younger artists. There is so much talent here, yet it can be difficult for new voices to break through. That is part of the reason I co-founded Tiderip with my partner Marjorier Ding, to create a platform that brings emerging artists into view and helps them find their audience.
How does your collecting sensibility influence the running of a gallery?
Collecting has made me attentive to the experience of living with art, and that perspective naturally shapes the way we run Tiderip. When curating exhibitions, we often think about how works might resonate not only on the gallery’s walls but also in someone’s home, as part of daily life. As a collector I value the relationships I build with artists, and that spirit carries into the gallery. For me, Tiderip is above all a place where artists feel supported and where collectors connect with works in a way that is both personal and meaningful.
How do you find and select new artists?
Discovering new artists is one of the most exciting parts of running Tiderip and collecting more broadly. I regularly visit London art schools such as the Royal College of Art, Slade and Goldsmiths, and spend time in artists’ studios. Often it starts with a single work that catches my eye and makes me want to understand the practice behind it. Meeting artists in person is essential because it opens up the ideas, process and energy that drive the work, and that exchange is often what convinces me that I want to support their journey.
The symbiosis of collecting and running a gallery can often be controversial (for example: Adam Lindemann, who has subsequently closed his gallery). How will you sidestep this?
I actually see collecting and running a gallery as going hand in hand. There is a strong tradition of art dealers who were also major collectors. My personal references are Ernst Beyeler, who built a world-class collection while making Basel a global art hub through his gallery, and Leo Castelli, who revolutionised the way dealers place works with collectors. Of course I am miles away from that, but they are inspiring examples to aspire to as a young collector and gallerist. The way I approach it is simple. Collecting sharpens my eye and allows me to support artists directly, while running a gallery is about building relationships and creating a space to share their work with others.
Tiderip is open Thursday to Saturday from 11:00 AM to 6:00 PM, and Tuesday to Wednesday by appointment. Location: 9b Battersea Square, London, SW11 3RA, United Kingdom. Learn more about their programme on their website, and read more about Tiderip in The Art Gorgeous and Our Culture Magazine.
