Catawiki is a curated online platform that makes buying & selling of special, hard to find objects extremely easy & reliable. The renowned art buying and selling platform Catawiki establishes itself as one of the official sponsors of Art Madrid in its 17th edition, also being part of the Art Week in Madrid.

Founded in 2008 with the mission to make special objects more accessible, Catawiki currently offers more than 600 auctions every week, in multiple categories such as collectibles, art, design, jewellery, watches, classic cars, among others.

Catawiki welcomes more than 650,000 visits from art, design and antiques enthusiasts every week. This international audience looks forward to discovering rare interior design pieces, paintings by their favourite artists or new original work by the artists and designers who sell directly with Catawiki.

Buyers | Offering inspiration in art, antiques and design

Catawiki fuels the passion of art, antiques and design lovers around the world, and it is the place to be for people who want to showcase special objects that reflect their personality in their homes. Over 90 experts select 20,000 items per week, ensuring that there are plenty of high-quality items for users to bid on. Catawiki’s experts combine years of experience with huge amounts of historical data on selling prices in a range of categories.

Ranging from contemporary art to vintage furniture, every week Catawiki offers the most coveted pieces. Whether they are interested in an antique Chinese vase, an impressionist artwork or an Eames chair, buyers with Catawiki can rest assured that every object on the platform is truly special.

Sellers | Helping the art world move online

Galleries and artists are increasingly choosing Catawiki as a platform to help transition their business online and reach new audiences. The weekly Direct from the artist auction empowers artists to submit their own work for expert review and it is becoming one of Catawiki’s most popular auctions. Respected artists such as Karl Lagasse, Kev Munday and FAKE have all appeared in the Catawiki auctions.

Reliability is of paramount importance at Catawiki, and the priority is to create a platform that is a safe place for buyers and sellers alike. The Catawiki payment system ensures secure and swift transactions. Payments from buyers are stored in a secure account and will only be released to the seller after the buyer has received their purchase.

Over 90 experts, recruited from the most prestigious art institutions in the world, select more than 20,000 objects in auction every week.

Whether they are interested in an antique Chinese vase, an impressionist artwork, iconic pop art, or an Eames chair, buyers with Catawiki can rest assured that every object on the platform is truly special. Interesting objects up for auction on Catawiki included: artwork by Andy Warhol, Banksy, Picasso, Monet and Man Ray, as well as design furniture by Eames or Sottsass.

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The painting of Daniel Bum (Villena, Alicante, 1994) takes shape as a space for subjective elaboration, where the figure emerges not so much as a representational motif but as a vital necessity. The repetition of this frontal, silent character responds to an intimate process: painting becomes a strategy for navigating difficult emotional experiences—an insistent gesture that accompanies and alleviates feelings of loneliness. In this sense, the figure acts as a mediator between the artist and a complex emotional state, linking the practice of painting to a reconnection with childhood and to a vulnerable dimension of the self.

The strong autobiographical dimension of his work coexists with a formal distance that is not the result of conscious planning, but rather functions as a protective mechanism. Visual restraint, an apparent compositional coolness, and an economy of means do not neutralize emotion; instead, they contain it, avoiding the direct exposure of the traumatic. In this way, the tension between affect and restraint becomes a structural feature of his artistic language. Likewise, the naïve and the disturbing coexist in his painting as inseparable poles, reflecting a subjectivity permeated by mystery and unconscious processes. Many images emerge without a clearly defined prior meaning and only reveal themselves over time, when temporal distance allows for the recognition of the emotional states from which they arose.

The Long Night. Oil, acrylic, and charcoal on canvas. 160 × 200 cm. 2024.

The human figure appears frequently in your work: frontal, silent, suspended. What interests you about this presence that seems both affirmative and absent?

I wouldn’t say that anything in particular interests me. I began painting this figure because there were emotions I couldn’t understand and a feeling that was very difficult for me to process. This character emerged during a very complicated moment in my life, and the act of making it—and remaking it, repeating it again and again—meant that, during the process, I didn’t feel quite so alone. At the same time, it kept me fresh and connected me to an inner child who was broken at that moment, helping me get through the experience in a slightly less bitter way.

Santito. Acrylic and oil on canvas. 81 × 65 cm. 2025.

There is a strong affective dimension in your work, but also a calculated distance, a kind of formal coldness. What role does this tension between emotion and restraint play?

I couldn’t say exactly what role that tension plays. My painting is rooted in the autobiographical, in memory, and in situations I have lived through that were quite traumatic for me. Perhaps, as a protective mechanism—to prevent direct access to that vulnerability, or to keep it from becoming harmful—that distance appears unconsciously. It is not something planned or controlled; it simply emerges and remains there.

Night Painter. Acrylic on canvas. 35 × 27 cm. 2025.

Your visual language oscillates between the naïve and the unsettling, the familiar and the strange. How do these tensions coexist for you, and what function do they serve in your visual exploration?

I think it reflects who I am. One could not exist without the other. The naïve could not exist without the unsettling; for me, they necessarily go hand in hand. I am deeply drawn to mystery and to the act of painting things that even I do not fully understand. Many of the expressions or portraits I create emerge from the unconscious; they are not planned. It is only afterwards that I begin to understand them—and almost never immediately. A considerable amount of time always passes before I can recognize how I was feeling at the moment I made them.

Qi. Acrylic on canvas. 81 × 65 cm. 2025.

The formal simplicity of your images does not seem to be a matter of economy, but of concentration. What kind of aesthetic truth do you believe painting can reach when it strips itself of everything superfluous?

I couldn’t say what aesthetic truth lies behind that simplicity. What I do know is that it is something I need in order to feel calm. I feel overwhelmed when there are too many elements in a painting, and I have always been drawn to the minimal—to moments when there is little, when there is almost nothing. I believe that this stripping away allows me to approach painting from a different state: more focused, more silent. I can’t fully explain it, but it is there that I feel able to work with greater clarity.

Crucifixion. Acrylic on canvas. 41 × 33 cm. 2025.

To what extent do you plan your work, and how much space do you leave for the unexpected—or even for mistakes?

I usually feel more comfortable leaving space for the unexpected. I am interested in uncertainty; having everything under control strikes me as rather boring. I have tried it on some occasions, especially when I set out to work on a highly planned series, with fixed sketches that I then wanted to translate into painting, but it was not something I identified with. I felt that a fundamental part of the process disappeared: play—that space in which painting can surprise even myself. For that reason, I do not tend to plan too much, and when I do, it is in a very simple way: a few lines, a plane of color. I prefer everything to happen within the painting itself.