_Art remains the top investment of passion for Australia's ultra-wealthy

The Knight Frank Luxury Investment Index recorded an 71% price growth in art over the past decade. How has the trend of collecting art changed over this time?

In the past, art has been viewed as an exclusive item, only available to a small group of ‘art lovers.’ However, the presence of social media and large worldwide art fairs have brought both the artists and art lovers closer. Art has become more accessible for everyone and with increased demand and a variety of supply, there is more appreciation in the home and throughout public amenities.

Art has always been appreciated by both young and old. With the emergence of young wealthy buyers, artists have now the opportunity to experiment on a wider spectrum and not limited to a single style or era. Both groups are focusing on the connections with a piece and how they can relate to artist.

Tell us a little more about your role as former Art Coordinator at Crown Sydney.

I have always loved art from a very young age. I used to visit galleries, museums and theatres with my parents who were always supportive of my passion for art, and later choice to study Arts Management at university.

I’ve worked in multiple galleries, which provided me with a strong base and understanding of art for my role as Art Coordinator at Crown Sydney. During my time with Crown, I procured almost 2,000 individual artworks from local and international artists, ranging from the emerging to very well-established. I had the opportunity to directly deal with amazing designers such as Meyer Davis, responsible for the private Residences that sit above the hotel, Blainey North, Bates Smart, and Loop Creative who individually are amazing and professional. And collectively, we built the most significant landmark in Sydney.

Image: sculpture by Zheng Lu at the entrance of Crown Sydney

What are some memorable pieces you procured for Crown Sydney/Crown Residences and why?

Each individual art piece in this building has its own unique story and beauty. I loved working with the artists, and hearing their stories and passions that inspire their creativity.

A standout for me personally if I had to choose would be Zheng Lu’s sculpture at the Porte Cochere. It was the largest scale sculpture I have worked on to date, 5.3 metres long and 3.5 metres tall positioned at the entrance of Crown Sydney.

Zheng Lu is a Beijing-based artist who derives inspiration from Chinese calligraphy and uses Chinese characters from traditional literature as a visual or conceptual element to form his sculptures. His study of Eastern and Western philosophies, in particular his research of ancient philosopher Lao-Zu, has inspired an interest in water as a metaphor for spirituality and vitality. The form of his sculpture is inspired by the curves of Barangaroo’s coastline, the dynamic tidemarks and geological movements of the foreshore, and fluidity of the water that surrounds it. It was my pleasure to have worked on this with UAP, a company that is well renowned for creating huge urban artworks all over the world.

The Penthouse of Crown Residences also accommodates a small version of this sculpture.

Image: miniature sculpture by Zheng Lou in The Penthouse, Crown Residences at One Barangaroo 

There are two exceptional pieces I should also mention in the Residents’ entrance. First, a painting by Australian artist Dinah Wakefield. Dinah draws inspiration from the landscape around her, focusing on an abstract expression of colour and form, drawing on the natural beauty of tranquillity and space. This is one of the first things residents see when they step into the entrance of their home.

The second is a copper sculpture that hangs next to their dedicated concierge desk, created by Mareo Rodriguez, a visual artist from Mexico. Of his design process, Mareo says: “I conceive matter, topography and natural territory as a living being in constant motion; Epidermal construction carved and worn by time, with a rhythm and a telluric language of frequencies and forces emerging, pressing, gravitating, revealing through the landscape.”

Another memorable piece is Chris Wilkinson’s sculpture carved from 19 tonnes of Italian Carrara marble, measuring 5 metres high. Visible from outside and reflected on the sandstone in the Porte Cochere, it sits inside the hotel.

Image: sculpture by architect Chris Wilkinson in the Crown Towers Sydney Hotel

The early concept development of One Barangaroo as a tower stemmed from the idea of an inhabited sculpture and this piece pays homage to that. An expression of geometry that underpins the architecture as it rises and twists from the ground up towards the skies of Sydney. This sculpture was carved from a single piece of marble, from the same quarry in Carrara as the stone veil that wraps the tower podium and is a refined visualisation of the architecture of One Barangaroo.

I also loved Indigenous artist Reko Rennie and his mural artwork on the tennis court. The featured artwork painted on the hotel’s tennis court was designed to enliven the space with a vibrant energy, connect and pay respect to the traditional landowners of Barangaroo by creating a sense of beauty from an Indigenous artist. It helps too that it looks great when viewed from above!

Image: tennis court mural by Indigenous artist Reko Rennie 

There is also Ian Dowling’s creation of 3,000 pieces of suspended ceramics near the entrance of Nobu, and Carly Scoufos and Tracey Deep’s extremely unique installations in the Woodcut restaurant.

Image: installation by Carly Scoufos and Tracey Deep at Woodcut Restaurant, Crown Sydney

Finally, I have to mention all of the emerging artists whose beautiful prints are featured throughout the hotel. This was part of a photography competition we hosted in 2019, called the Crown Sydney Artists Initiative (CSAI), an innovative approach we took to sourcing art by inviting early and emerging creative talent to submit works in five categories - Australian Icons (Landscape and Nature), Sydney’s Secrets (Architecture and Street), People of Barangaroo, Black and White, and Mobile (Phone or Tablet Device).

In response to this competition, we received more than 3,000 entries, and winners and finalists now have their work showcased throughout One Barangaroo.

Image: one of the photographs from the Crown Sydney Artists Initiative hanging in The Penthouse, Crown Residences

How do you alter your approach to sourcing art for public spaces compared to residential homes like Crown Residences at One Barangaroo?

I believe in art; you must take people on a journey. For example, taking a trip to Italy, walking around a garden throughout a long path.

Working on a residential home, I need to be more careful as this is the clients’ home, their shelter, their castle. A personal touch is required which is gained from one-on-one conversations, understanding their needs, their personalities and inspirations.

What advice would you give to those looking to invest in their next piece for their home?

Are you collecting or are you decorating? I think that is most important question you have to give yourself. And just also be open! Art is a journey, art is a story, your story. You have to have a strong connection with a piece… And the most important what I have learned from one of my mentors: “Art always finds it’s space.”

Image: Veronika Molnarova at a Crown Residences event 

Which types of art retain their value long-term?

I believe that paintings and specifically ‘abstract paintings’ where each person can individually relate and interpret how they relate to the artwork are the most valuable.

For me, personally, I am working with an artist called Adela Kusur on a resident’s apartment. We understood each other instantly, perhaps because we share similar stories of migration.

Image: Veronika Molnarova with Melbourne artist Adela Kusur standing in front of one of Kusur’s pieces at a Crown Residences event

Adela recently asked me to help her with one of her very unique acrylic paintings she worked that was funded by Gandel Philantrophy and RMIT University. This particular piece was created with a football - a very interesting concept. I understand this is not for everyone, but there will be someone who understands the concept behind this artwork.

This artwork aims to create a discourse about the importance of migration and how it has helped shape and build Australia’s identity as a multicultural country. Like many countries, the Australian soccer team comprises of individuals that come from different backgrounds with varying skills, talent, and opportunities.  However, on field, the individual becomes the collective and without the collective there can be no individual. They create a team that is inclusive, hungry, diverse, and passionate. They evoke emotion, bring people together and celebrate talent. Finally, they are equal and can take part in something that is inherently special to them.

Some might think it’s ‘scary’, but I think it is beautiful and these sentimental pieces are invaluable.