There, inside the forest, where everything is dense and leafy, inhabits the fantasy of the stories. The machinery of the imagination beats in the heat of a light sifted by the tops of the trees, under whose branches, lying in the sunset light, magic takes place. The stories that host our dreams feed on the emptiness that the mystery leaves in its way so that we fill it with new stories. It is a perfect tension between innocence and maturity, between the desire to play and the awareness that all this is part of an unreal world. But the door is open and, although someone warned us once that we should not enter, we can not avoid it.

Mònica Subidé

Los niños de papel, 2019

Óleo, lápiz y collage de papel japonés sobre lino

54 x 65cm

Mònica Subidé

Los hijos del rey bufón y sus buitres, 2018

Oil, pencil and collage on wood

80 x 110cm

Mònica Subidé

Jardín de Luces, 2019

Oil and collage on linen

54 x 65cm

The eyes of animals are crystal spheres that curve and reflect the environment. The green leaves form superimposed fans, like vegetable screens that yield sweetly in our path. We advance in search of a refuge, a haven in the middle of the grove where we can rest our exhausted mind of so much information. And so be able to think. Silence (which is not true silence) fills with faint sounds, and we enter loneliness accompanied, in a path without fixed direction that takes us to the bottom of our being. We face these images with the feeling of having seen them before, but not in real life, but in the reality of our dreams. They are dream pictures that remind us of fairy tales, enchanted forests, spring evenings, being lying on the grass while we watch the clouds pass by.

Mònica Subidé

Alma de ciervo, 2019

Oil and collage on linen

38 x 55cm

Mònica Subidé

La princesa ladrona. Niñas pez, 2018

Oil and collage on wood

25 x 18.5cm

Mònica Subidé

Travesia en el bosque de Nolde Mirocco. Serie exploradores, 2018

Oil and collage on linen

114 x 146cm

The often difficult task of theorising about painting loses its meaning again on this occasion. These snatches stolen from a dreamy mind lead us to a conceptual contradiction. Let's glimpse suffering, but also placidity and serenity. A natural and delicious calm, not without frights and scares of the soul when you think of existential truths such as freedom. Our mind can play tricks on us, look for the misunderstanding between state and situation, create the fallacy of being free but locked in oneself. No. Let's get rid of artifices. There, inside the forest, where nobody sees us, we are what we really are and surrender to our own life, contradictory and elusive as it is.

···

We asked Mònica about his latest work that is on show in Bea Villamarín Gallery, a pictorial proposal that takes us to an almost oniric world where time seems to stop.

In previous works, you have explored the connection between life and death. The allusion to the emptiness you make in "The desire to be a deer", is it also a reference to that dichotomy between opposing elements, such as childhood and adulthood, consciousness and unconsciousness?

I have never considered that there was a dichotomy between childhood and adulthood or consciousness or unconsciousness. For me, in both cases, we must accept the first to live the second. The allusion to the void, always talking about me, is just that state where you intend to stop and vanish, in the concept of idea-mind, to be in a déjà-vu. They are difficult emotions to express in words and painting. Abstract emotions that speak of emptiness in humans are always complicated. I am very interested in human being and emotions, so childhood is something that fascinates me because it is the beginning towards life and where we take the road. I usually interpret emotions in stories; narrating in painting is more like writing. On this occasion, there are many pieces where I do not want to tell, just lie down, be in a state of déjà-vu. When I started about four years ago with a new pictorial language, my nine-year psychoanalysis was just over. It was the beginning to try to interpret childhood ideas and dreams.

What does the deer represent as a concept in this pictorial series, is it the observer or is it the observed being?

Always for me, it is the observer; it is the link between man and his soul. The deer in many different occasions in my pieces always represents the wild animal that we are, and that desire to be free, without knowing what a world in freedom is. It is an act of protest, poetic, dreamlike, subtle, trying to be freer in our everyday world, in small things.

Mònica Subidé

Flor azul, topo marron, 2019

Oil and collage on linen

22 x 27cm

Mònica Subidé

Cuenco amarillo con girasol verde, 2019

Oil and collage on cardboard paper

40 x 58cm

You have stated that you feel comfortable with large formats, have you chosen the medium size for any reason for this collection?

I was working for years in very large formats; I am increasingly interested in the medium format for a simple matter of privacy. I really wanted to be able to present nearby, less spectacular pieces and force the viewer to stop a few minutes, in front of the pieces. The large format is often a fast-track-look format. I wanted a slow exhibition because the last three years have been very intense, with a lot of production, and little time to reflect. I wished I could find a closer dialogue between one’s self and painting. With this, I do not mean that I am not interested in the large format, but it is a very different mental state, which on this occasion, I did not feel when painting. I believe that this exhibition came at a time when the physical and mental exhaustion of recent years forced me to lie down and rest, reconnect with myself, review my trajectory in order to continue advancing, and be able to reinvent new ways to transmit that feeling of emptiness.

Contemporary art has ceased to be an exclusive territory reserved for elites and has become an increasingly democratic and accessible space. In the context of fairs such as Art Madrid, which in 2026 brings together more than 200 artists from five continents, a new generation of collectors is emerging—one that challenges the traditional codes of the art market. But how do you make the leap from admirer to collector? What do you need to know before acquiring your first artwork?

The image of the art collector has historically been associated with great fortunes, multimillion-euro auctions, and inaccessible masterpieces. However, this perception is changing radically. Today’s contemporary art market offers a wide range of proposals that suit virtually any budget, from works by emerging artists to limited editions by established creators. .

At Art Madrid, for example, galleries presenting young talents coexist with those representing artists with consolidated careers. This diversity allows first-time buyers to find meaningful works without needing unlimited capital. What matters is not how much you invest, but why you do it, and how that piece resonates with your life, your space, and your concerns.

Experience in the art world shows that a collection is not defined by the monetary value of the works it contains, but by the coherence and strength of the narrative they build together. Understanding this frees emerging collectors from the pressure to succeed according to investment logic and encourages them to rely on their own aesthetic judgment and the emotional connection they establish with the works.

HOW TO START A COLLECTION

Define Your Orientation: Passion vs. Investment

Before acquiring your first work, it is essential to ask yourself what you are looking for in collecting. There are two main approaches which, although they can coexist, lead down different paths:

Collecting driven by passion is guided by emotional connection, aesthetic pleasure, and the desire to live surrounded by works that speak to you. This approach is more intuitive and personal and, paradoxically, often proves to be more successful economically in the long term because it is rooted in genuine conviction.

Collecting as an investment requires more technical knowledge of the market, monitoring trends, understanding artists’ and galleries’ trajectories, and having a strategic vision. Although art has proven to be an interesting alternative investment—especially in times of economic uncertainty—it requires patience and a tolerance for risk.

Most successful collectors combine both dimensions: they buy what moves them, while also developing a critical eye to identify works with potential for appreciation. The key is not to be driven solely by market opportunism, because art that does not move you is unlikely to hold your interest when trends change.

EDUCATE YOURSELF BEFORE BUYING

Knowledge is your best tool. Before acquiring works, take time to:

Visit exhibitions regularly. Not only in commercial galleries, but also in museums, independent spaces, and art centers. This will help you develop your own aesthetic criteria and understand which proposals truly resonate with you.

Research artists. Read about their careers, influences, and creative processes. In the digital age, most artists are present on social media, where they share daily work, sketches, and reflections. This transparency makes it easier to connect more deeply with their practice.

Understand the market. Observe prices in different galleries, learn what factors influence valuation (artist’s career, technique, dimensions, limited edition versus unique piece), and become familiar with how galleries and fairs operate.

Talk to gallerists. Gallerists are essential allies. Their job is not only to sell, but to educate, connect, and build long-term relationships. A good gallerist will guide you toward works that match your interests and accompany you in the development of your collection.

EVALUATING A WORK: BEYOND “I LIKE IT”

When a work captures your attention, it is important to go beyond the initial emotional impression and ask yourself some key questions:

Coherence in the Artist’s Trajectory

Is this work part of a sustained line of research, or is it an isolated experiment? Artists with coherent proposals over time tend to have greater projection. Look for a logical evolution in their work, participation in relevant exhibitions, awards or grants, and representation by established galleries.

This does not mean you should reject the work of very young or highly experimental artists. On the contrary, some of the greatest successes in collecting come from early support of emerging talents. However, such a bet should be based on informed intuition, not mere novelty.

Technical and Conceptual Quality

Contemporary art has greatly expanded the boundaries of what we consider “technique,” incorporating everything from installation to digital art. Nevertheless, each discipline has its own standards of excellence. A painting should demonstrate mastery of color, composition, and material; a sculpture, an understanding of space and materials; a photograph, control of light and framing; a conceptual work, rigor in the development of the idea.

Beyond technique, ask yourself: What is this work saying? Does it offer an original perspective on something that interests me? Is there conceptual depth, or is it purely decorative? There are no absolute right answers, but asking these questions will help you make more conscious decisions.

Suitability for the Space

A practical but fundamental consideration: where will this work live? Art needs room to breathe, appropriate light, and a context that enhances it. A monumental work can feel overwhelming in a small apartment, while an intimate piece may get lost in a large space. Many galleries offer virtual visualization services or even temporary loans so you can experience the work in your space before committing.

Practical Aspects of Collecting

When you acquire a work, you should receive:

Certificate of authenticity: A document signed by the artist or gallery that certifies the authorship of the piece, its dimensions, technique, year of creation, and, in the case of editions, its number within the edition.

Invoice: Legally required and essential for proving ownership and purchase value, particularly relevant for insurance and potential resale.

Conservation information: Each technique and material requires specific care. Ask how the work should be preserved (light, humidity, temperature conditions) and whether it needs periodic maintenance.

Insurance and Protection: Even if your collection is just beginning, it is advisable to take out specific insurance for artworks. Most home insurance policies do not adequately cover this type of asset. There are specialized policies that protect against theft, accidental damage, fire, and other risks, with reasonable premiums for modest collections.

In addition to insurance, consider basic conservation measures: avoid hanging works in areas with excessive humidity, direct sunlight, or sudden temperature changes. For works on paper (photographs, prints, drawings), framing with UV-protective glass and acid-free matting is essential.

Legal and Tax Advice

In Spain, artworks have a specific tax treatment. The applicable VAT rate is 21%, although there are exemptions in certain cases. If your collection grows and you eventually decide to sell pieces, you will need to consider the tax implications of capital gains. For larger collections, it can be useful to consult advisors specialized in artistic heritage, who can guide you on tax benefits (donations to museums, long-term loans), inheritance planning, and asset protection structures.

Building Relationships Within the Art Ecosystem

Collecting is not a solitary activity, but a deeply social one. Some tips for integrating into the community:

Attend openings and events. Exhibition openings are opportunities to meet artists, other collectors, critics, and curators. Don’t be afraid to ask questions or express genuine interest.

Join collectors’ associations. Many cities have organized groups that arrange studio visits, talks with experts, and trips to international fairs. These spaces facilitate learning and networking.

Be loyal to your galleries. If a gallery has advised you well and you feel comfortable with its program, maintain the relationship long-term. Gallerists tend to reserve the best pieces or opportunities for their regular collectors.

Value Beyond Price

Finally, it is important to remember that the true value of collecting goes beyond economics. Living with art transforms everyday spaces into places of reflection and beauty. A work on your wall is a daily reminder of an emotion, an idea, a vision of the world that once moved you enough to want to live with it.

Collecting is also a way of actively participating in the cultural ecosystem. When you buy the work of an emerging artist, you help them continue creating. When you support an independent gallery, you help sustain spaces of experimentation. When you lend your works for an exhibition or eventually donate them to a public institution, you contribute to the collective heritage

At fairs like Art Madrid, where proposals from different generations, geographies, and artistic languages coexist, you have the opportunity to explore, compare, and discover. There is no rush. Collecting is a long-term journey in which each acquisition is a chapter in a personal story you are building. The key is to begin with curiosity, humility, and the certainty that art, more than a luxury, is a necessity that profoundly enriches life.