The Collector’ was an immersive and evocative installation created for 2014 Frieze Masters in London (Helly Nahmad gallery), consisting of the interior hallway and rooms of a modernist apartment set in Montparnasse, Paris in 1968, accompanied by a curated film of contemporary television broadcast and nostalgic music of the period, and filled to the brim with the found collected objects and artworks of one man’s life time, amongst the piles of books, stacks of Paris Match magazines and  pinned up revolutionary posters are mouthwatering art works including Lucio Fontana’s slashed canvas, a Picasso self-portrait, and Giacometti's ‘Trois hommes qui marchent’ casually placed by the bed.

‘Visitors were entranced...crammed with pitch-perfect period details’ New York Times

collector best - 04.jpg
collector best - 02.jpg

"a statement about how art used to be at the centre of the political and intellectual life of it's times... not merely an expensive commodity" Hyman collection

‘One visiting dealer called “The Collector” ‘a poem in three dimensions’ Economist

collector best - 03.jpg
collector best - 06.jpg
collector best - 07.jpg

'So intoxicating is Nahmad's stand... that with one nostalgic, bohemian, gust it blows away the precious, pristine, smartly labelled art fair piety everything else at Regents park' FT

collector best - 09.jpg
collector best - 10.jpg
collector best - 11.jpg
collector best - 13.jpg
collector best - 12.jpg
collector best - 08.jpg

"That installation touched so many nerves in people, You were looking at art in a living environment. Was that really a Giacometti next to the bed?" New York Times

collector best - 14.jpg
collector best - 16.jpg
collector best - 18.jpg
collector best - 20.jpg
collector best - 15.jpg
collector best - 17.jpg
collector best - 19.jpg
collector best - 21.jpg
collector best - 23.jpg

'Frieze Masters was worth visiting just for this booth. This is probably the best booth you will ever see at an art fair in your life' DAZED

'the most elaborate booth I have ever seen at an art fair stand' Vogue

'utterly convincing re-creation. forensically accurate' The Art Newspaper