Zürich-Amsterdam, den 28. Februar 2026
I have been working with Roy since graduating from the Gerrit Rietveld Academy 2018. In doing so, I have got to know someone who is not only interested in photography, but also in contemporary art, and who engages with it intensively. During these almost eight years, I have noticed that ideas about what Roy's work is about sometimes diverge greatly and give rise to very different interpretations.
With this interview, I would therefore like to provide an insight into his work and convey an idea of the collaboration between the gallery and the artist.
Dear Roy, can you tell our readers a little about your background and how you came up with the idea of representing a photography gallery?
Starting a gallery was never actually the plan; my wife and I had simply been avid collectors for years. It began in the 1980s when I worked closely with photographers on commercial assignments in my role as a designer and art director. During those collaborations, I often saw their personal, autonomous work and frequently bought prints for myself. In the early '90s, a trip to New York first opened my eyes to the true scale of the fine art photography market. It wasn't until the early 2000s that Dutch photographers began asking me to represent them professionally. My first gallery, which was online and, in hindsight, far too early for the market in 2001, was my first real attempt at selling prints. That’s how it all began.
Why are you so interested in photography? And what does this work with photography mean to you?
My initial love for photography, particularly black-and-white work, was purely aesthetic and decorative. I filled my home with a wide variety of photographs because they gave me the sense of living a richer, more inspired life.
What are your sources of inspiration for this work with such diverse categories of photography?
My inspirations are as varied as the photographers and styles we represent. It starts with graphic design, but I am also deeply influenced by painting, specifically the "Zero" movement. Architecture, cinema, and sculpture (particularly African sculpture) are also vital influences. Despite the diversity of these disciplines, simplicity is always the central thread.
In addition to the gallery, you also publish a GUP magazine and established Fresh Eyes, a platform for emerging photography talent.
How did that come about?
I co-founded GUP Magazine with two other enthusiasts to provide my gallery and artists with a broader platform within the wider context of the international photography world. We looked for intersections within specific themes, highlighting the inspirations of established photographers alongside emerging talents. Through that search and our communication with various art academies, it became clear there was an enormous amount of talent in need of a stage. That’s how Fresh Eyes was born. We now publish the book twice a year to keep up with the sheer volume of new talent entering the market and looking for their place in the photography world.
Why did you rebrand Kahmann Gallery as Hungry Eyes Group in May 2025?
Rebranding the various activities I had built up over the years was a strategic decision driven by several factors. The first was practical: I was managing four separate companies with four websites, four social media presences, and, most crucially, four different fiscal entities and sets of obligations. I have now consolidated everything into a single entity: The Hungry Eye Group. This integration process is still ongoing and is expected to take over a year to fully complete.
What exactly is Hungry Eye Gallery LAB?
Our LAB is a dedicated space within the gallery where we mentor, coach, and nurture new talent, helping them grow into full members of our roster of represented artists. We dedicate a full year to this process. Think of it as "Phase 2" of their education. After graduating from art school, many talents fall into a professional vacuum; we aim to prepare them for the realities of being a self-sustaining artist across various professional levels.
How do you position yourself with your gallery and the artistic works you present?
The Hungry Eye Group is a leading international platform dedicated to the art of fine-art photography. The group functions as a unique, integrated ecosystem designed to discover, nurture, mentor, and present photographic talent at every stage of the artistic journey. From the first spark of inspiration to the walls of the most prestigious collections in the world.
What is your main focus when curating an exhibition?
My primary focus is staying true to my own intuition. I ask myself: "What would I want to discover and feel at an exhibition?" Past experiences guide me here. I view an exhibition like a good book, it needs a compelling beginning and a poignant conclusion. It should be experienced like the movements of a great piece of music. I call that "flow." It’s not just about a series of highlights; it’s about the rhythm of the whole experience.
What messages do you want to convey with your work? And what do you think distinguishes your approach from others?
Our message isn't as high-flown as people might expect. My motto has always been about the enjoyment of timeless work. Ideally, a joy that lasts a lifetime. This is especially true when you hang a piece in your home where you see it every day. I look for works that inspire, challenge, and remain engaging, pieces that continue to raise new questions over time. That is the kind of art that sticks with you. Our approach differs from our peers primarily through its breadth; we focus on long-term artist representation, nurturing their growth in both artistic quality and market value.
How do you position yourself as a collaborator and gallery owner within existing categories such as digital art, contemporary art or photography?
Our positioning has nothing to do with the artist's medium or output. To us, every artist and their work is treated with equal importance and is supported and presented with the same level of dedication. Categories simply don't matter to us.
How do you select artists and what is particularly important to you in terms of an artist's approach?
The way we scout new talent has shifted significantly in recent years. Much of our discovery now happens via social media, with Instagram playing a major role. However, our core approach remains the same. After an initial meeting, the most important step is to voice and manage expectations. Generally, artists expect a lot from a gallery, and our most important piece of advice to them is: "Patience." Positioning a new artist in the market is a time-intensive process.
You also work with artists who use AI in their work. Can you tell us a little bit about that?
We are far less interested in how an artist works than in the final result, what we call the "final image." Whether a work is created with a disposable camera, a smartphone, a pinhole camera, or even without a camera at all, is secondary. We represent artists who use collage techniques, both analog and digital, and now those using AI. Just as it was with the early Photoshop artists, we believe it isn't the technology that dictates the output, but the creator who’s using it and managing it. The artist acts as the director, and that vision remains the only thing relevant to the final image.
As an artist, how should one imagine working with a gallery owner today? How do you support your artists as a gallery owner?
Because as a gallery owner, publisher and fair director, you are very busy.
And how has this artist-gallery owner relationship changed in the current climate?
For us as organizers wearing many hats, the core hasn't changed. Everything we do beyond traditional gallery management was born from a single goal: generating as much attention as possible for our artists. By publishing magazines and books, we can reach the public sooner and engage a wider audience. The same applies to the fairs we organize. Artists who don't see the value in that ecosystem probably shouldn't join us. The artists in our group must understand that we build success together. Success for the artist is success for us. That symbiotic relationship is often misunderstood by the outside world.
What is it like working with such different people, artists and photographers?
Can you share some experiences with us about how the collaboration with artists works?
Are there certain things that work very well and others that don't work so well?
Every collaboration is unique because every person is unique. As I mentioned, managing expectations and maintaining open communication is essential. We give 100% to bring an artist to the attention of potential buyers, but you cannot force that process. The volatility of the market plays a role. Even geopolitical events or the weather during an art fair can have an impact. Then, of course, there is the buyer's taste and budget. Money is always a factor, both for the buyer and in the relationship between artist and gallerist. When sales are strong, everyone is happy; when sales lag, different pressures emerge. Furthermore, social media has changed the game. Buyers often approach artists directly, which can lead artists to question if they still need a gallery. A lot of business is done online now, and that inevitably influences the artist-gallery relationship.
There are many artists who currently find it difficult to sell their works.
Can you tell us something about the current situation in the gallery business?
The art market in 2025 was quite challenging. Many galleries had to close their doors, and artists generally saw lower sales. Specifically in the Netherlands, there was a negative sentiment driven largely by politics and the global stage. While the market picked up slightly at the end of 2025, it dipped again in early 2026. Remaining positive and having high expectations for the rest of 2026 is a matter of mindset. Wars, rising prices, and political instability affect the buyer's market. We can only hope that people continue to find a small bit of joy in purchasing a beautiful piece for their home.
Are there any exhibitions or collaborations in the future that you would like to tell our readers about?
We have several wonderful events lined up for 2026. To name a few:
Haute Photographie Rotterdam 2026 (March 25–29): Featuring over 50 photographers and 100 talents via Fresh Eyes.
KunstRAI 2026 Amsterdam (April 25–29): Contemporary art, featuring a selection of premier photography galleries.
Hungry Eye Fair Amsterdam 2026 (September 2–6): Held in conjunction with Amsterdam Fashion Week, showcasing work by over 50 photographers.
PAN Amsterdam 2026 (November 2–10): A high-quality art fair where the Hungry Eye Gallery will be prominently featured.
Zürich, den 17. März 2023
In my collaboration with the gallery owner and curator Mrs Goar Sekhian Sanfilippo, I met someone who has the same passion for scent. For me as an artist, scent or ordour is a part of our perception. It was an area of interest that I pursued for a while during my studies. Now, when I met Goar Sekhian Sanfilippo at a conference in Bern, I remembered my work with the sensory perception of "scent".
At the same time, I am also fascinated by women in our society who follow their individual interests and thus establish themselves.
This meeting in Bern and our current collaboration gave rise to the idea for this interview, which provides an insight into my work with Goar Sekhian Sanfilippo, the founder of the concept of Perfumed Art.
Dear Goar, can you tell the readers about your background and how you came up with the idea of combining art with fragrance for an exhibition?
Dear Nora, thank you for the warm welcome! It’s a privilege to share this space with you for this conversation.
The genesis of melding art with fragrance was birthed within the confines of my professional sphere. It’s essential to note that both art and fragrances have been intertwined with my existence since childhood. Yet, my career trajectory for two decades was anchored in international trade, a field seemingly distant from these passions. The epiphany to fuse visual and olfactory pleasures arose from the strains of an unfulfilling work environment.
My tenure at a trading firm, within the starkness of an open-space office, challenged my notions of resilience. It wasn’t the pressures of the job but the sensory disruptions — the “olfactory noise” and a stark lack of visual allure — that eroded my productivity. Encased by bland walls and unwelcome odours, I found myself yearning for an escape.
This longing for aesthetic and aromatic stimulation became my muse. I envisioned an art piece on the barren wall beside me and a fragrance that could transport me from the drab confines of the trading floor. This wasn’t just a fleeting daydream; my deep-rooted appreciation for art and scent fueled this aspiration.
This vision eventually materialized, thanks to collaborating with gifted artists who dared to infuse their creations with scent, pushing the boundaries of their craft. This blend of art and fragrance wasn’t merely a personal sanctuary; it became a tangible reality, marrying my lifelong passions with my professional world in an unexpected symphony.
How should we imagine the encounter with a perfume-combined work?
The creation of perfumed art is deeply personal and tailored, with my role being more of a conduit than a direct influencer. My background in art and olfactory senses serves as a foundation, yet it’s the immersive study of an artist’s portfolio that truly sparks my creativity. Every brushstroke, color palette, and technique of the artist acts as a catalyst, igniting my visual and olfactory imagination.
This process is collaborative at its core. As I delve into the nuances of an artist’s work, the interplay of visuals and scents begins to take shape in my mind, forming the initial concept of a collection. It’s a dialogue of inspiration, where my insights and the artist’s vision converge to conceptualize a collection that is not just seen but experienced through scent.
This shared journey of creativity paves the way for the artist to craft a collection that transcends traditional art, inviting viewers into a multisensory experience where fragrance complements form, enriching the narrative and emotional depth of each piece.
And what kind of perfume is it?
The selection of perfumes is intricately aligned with the essence of the artist’s work, where the hues, figures, forms, shapes, and dynamics within the artwork guide my olfactory choices. These elements coalesce into a singular sensory blueprint, etched firmly within my mind.
It’s important to emphasize that the perfumes showcased at exhibitions serve merely as illustrative examples for attendees. The core of our perfumed art concept lies in personalization and choice. Viewers are invited to not only connect with the visual aspect of the art but to also infuse it with a more intimate, personal layer by selecting a scent. This could be their own signature perfume or a fragrance that holds significance to someone dear to them.
This integration allows for a unique synthesis where the chosen artwork is not just visually captivating but also intimately connected to the viewer’s or their loved one’s olfactory identity, enriching the overall experience and creating a deeply personal connection with the art.
What are the sources of inspiration for your work?
Drawing inspiration from the artist’s creations is an aspect of my work that I hold in high esteem. Collaborating with these talented individuals is not just a privilege but an enriching journey that extends beyond the realm of art. It’s a process that fosters a deep, reciprocal inspiration, fuelling both our creative endeavours and enhancing the artwork we set out to create together.
Moreover, these collaborations shine a light on the beauty of human connection. The exchange of ideas, the shared moments of breakthrough, and the mutual respect and admiration that develop through the course of our work together underscore the profound impact of these relationships. They transcend mere artistic collaboration, evolving into a celebration of the human spirit and the bonds that tie us together in our quest for beauty and expression.
How do you position yourself as a collaborator and gallery owner in the artistic work presented?
Building on what I shared earlier, the culmination of our collaborative efforts—the artist’s work—emerges as a manifestation of our shared vision and inspiration. This creative synergy often results in a collection that is akin to a “newborn,” crafted with care, passion, and a deep-seated connection between all involved.
As the relationship between the gallery owner and the artist evolves through this process, it transcends traditional professional boundaries. It blossoms into a creative friendship, where mutual respect, understanding, and shared aspirations form the cornerstone. This unique bond not only enriches the art but also adds a layer of depth and intimacy to the collection, making each piece a testament to the collaborative spirit and the profound connections formed along the journey.
What messages are you trying to communicate with your curatorial work? And what do you think differentiates your approach from others?
The guiding principle that has steered my journey in the art world were my father’s wise words: “Art is noble, you can learn everything but art should be in your blood.” This profound belief has been the bedrock of my endeavours since I embarked on organizing art exhibitions in 2017. My singular goal was to offer artists a platform to showcase their work, without any selection criteria, providing them with the opportunity to exhibit their art in a prestigious venue in Luzern, thanks to a philanthropic collaboration with Chateau Gütsch castle/hotel under management of the previous director.
Inspired by this initial venture, in 2018, I founded Perfume Art Creation with a dedicated focus on perfumed art. This initiative was aimed at redefining the essence of artistic expression by incorporating olfactory elements, thereby unveiling the artists’ talents in an innovative manner. Each artist involved brings their unique technique and style to the fore, contributing to the evolution of perfumed art as a distinctive genre within the realm of contemporary art. This endeavour not only celebrates the sensory fusion of scent and sight but also champions the individuality and creativity of each artist we collaborate with.
How do you position yourself as a collaborator and gallery owner within existing categories like digital art or contemporary art?
Perfumed art represents an innovative frontier within contemporary art, marking a distinct departure from historical instances where olfactory elements subtly intertwined with artistic expressions, but never as directly correlated as they are now. Our gallery stands out for its creative ethos, diverging from the conventional gallery model focused primarily on art curation and sales.
Our core mission is to foster creation and innovation, encouraging artists to explore new dimensions in their work. This creative journey is paramount, with the commercial aspect of selling art taking a secondary role. We see ourselves not merely as art dealers but as art creators, facilitators of a process that brings novel and sensory-enriched art to the forefront.
This approach underlines our commitment to expanding the boundaries of art and offering unique experiences that challenge and engage the senses in unprecedented ways.
How do you select the artists and what is really important to you in terms of an artist's approach?
As I’ve touched upon previously, the creative process we engage in significantly transforms the dynamics between the gallerist and the artist, often leading to a deep-seated friendship. Such a bond is predicated on unwavering trust, forming the foundation for a lasting relationship. In the realm where galleries and artists intersect, while talent undeniably plays a critical role, the core human values of respect, loyalty, honesty, and creativity hold paramount importance.
I approach all my professional relationships with sincerity, transparency, and a forthright attitude. It is essential for these fundamental values to be reciprocated and upheld. Should there be any deviation from these principles, our paths diverge swiftly and decisively. This stance underscores the significance I place on maintaining a circle of collaboration characterized by mutual respect and integrity, ensuring that our shared journey in the art world is not only productive but also deeply meaningful.
Since you founded the 2020 concept in Zurich, you have already opened new galleries in Venice and Paris. Can you share with us some experiences of how the collaboration with the artists’ works? Are there specific things that work very well and those that don't?
The initiation of a collaboration often sparks from a serendipitous encounter between two individuals at an art event, effortlessly conversing in the universal language of art. Once this connection is established and the dialogue flows naturally, partnerships can form almost instantaneously. Interestingly, I’ve observed that collaborations with established and renowned artists tend to materialize more smoothly compared to those with emerging artists. The seasoned artists possess an innate ability to convey and interpret artistic concepts with minimal words, a testament to their extensive experience and fluency in the art world’s nuances.
Every locale brings its own unique flavour to the art scene, and for us, Venice holds a special place. My husband and I were merely 21 when we first visited Venice and found ourselves captivated by the majestic Scuola Grande di San Rocco. The profound spirit and philosophy of this place inspired a heartfelt vow between us: to one day emulate the Venetian middle-class families’ tradition of nurturing young talent in the arts. Fulfilling this aspiration, we inaugurated our first international gallery in Venice in April 2022.
A year later, a fortuitous opportunity arose to acquire a gallery in Paris, nestled in the Village Suisse at 78 Avenue de Suffren, a stone’s throw from iconic landmarks like the Eiffel Tower and the Grand Palais. The prospect of establishing a presence in such a prestigious location was beyond our wildest dreams. Yet, life has a way of unfolding seamlessly when the time is right, turning once distant dreams into reality with astonishing ease.
What is your focus with curating an exhibition?
Our galleries in Zürich, Venice, and Paris are abuzz with activity, hosting new exhibitions bi-monthly. Each collection is personally curated by me, a responsibility I cherish deeply. It’s a privilege to intersect paths with such incredibly talented and creative artists, which in turn, enriches my own creative journey immeasurably.
Running a burgeoning gallery demands an immense commitment, often translating into 16-hour workdays that intertwine with family life. Such a rigorous schedule is sustainable only because of the joy and fulfilment derived from working alongside individuals who inspire and invigorate me daily.
Recently, we celebrated the opening of “25th TWENTY FIVE,” a solo exhibition by the Luzerner painter and tenor Sergey DUBROFF in Zollikerberg. This captivating showcase is available for viewing by appointment until May 31, 2024.
Looking ahead, the next weekend promises another exciting chapter as I head to Paris. We’re relocating the current solo exhibition of the French artist designer Nathalie MONNIER to Grenoble. This move is in preparation for our participation in the Grenoble Art UP, from April 4 to 7, 2024. This event marks the inaugural Contemporary Art Exhibition in Grenoble, where we’ll present “L’EDEN retrouvé,” a collaborative exhibition featuring the works of Nathalie Monnier, Nadège Dupont, and Sylvain Dautremay.
Do you have any exhibition or collaboration in the future you would like to share with our readers?
An exciting and significant exhibition is on the horizon in Venice, where we will be inaugurating the Venice Biennale at our permanent gallery with the exceptionally talented NORA PAPP from Zürich. This exhibition is set to be a unique fusion, showcasing a dialogue between Nora’s artistic prowess and the capabilities of Artificial Intelligence. It aims to serve as a playful nod (“clin d’oeil”) to the idea of collaboration, transcending the boundaries between human and non-human entities.
This event promises to be a thought-provoking exploration of art and technology, challenging traditional notions and inviting a wide array of interpretations. It’s a testament to our commitment to pushing the envelope and exploring new frontiers in the art world.
We invite you to stay engaged with our journey and to reach out if you wish to experience this ground-breaking exhibition or any of our showcases in Zürich or Paris. Whether by phone or email, we are ready to facilitate your visit and ensure a memorable experience at any of our gallery locations.
You are welcome!
It was truly a pleasure to share insights and discuss our endeavours in the art worlds. Thank you for the engaging conversation. I wish you a flourishing journey ahead filled with creativity, inspiration and success.