A background in Neuroethics led Émilie to assemble a collection focused on perceptual minimalism. Drawn to Phenomenology and Neuroaesthetics, she became interested in the ways artworks can alter, sharpen or recalibrate perception, and in what they reveal about our experience of space, time and attention. Her first acquisition, in 2012, was an Incomplete Open Cube by Sol LeWitt. Since then, building on the eclectic collection of her grandmother Claire De Pauw, she has sought to gather works that foreground the conditions of perception and the viewer’s experience. While many of the pieces date from the 1960s, she remains committed to discovering contemporary artists extending these approaches today. Given the nature of certain works — kinetic pieces, light or sound installations — Émilie chose to host the collection in a house in Brussels, where she regularly welcomes visitors who share these interests.

Specializing in 20th and 21st century art, Anne-Hélène Decaux has built a distinguished career in the art world, combining curatorial expertise with a deep understanding of art markets and institutional relationships. Before assuming her current role, Anne-Hélène led the Post-War and Contemporary Art Department at Sotheby’s Paris and further refined her expertise at Gagosian Gallery. An active curator, Anne-Hélène began her career with the Aga Khan Foundation and collaborated with Wild Touch, a prominent French NGO dedicated to climate change awareness. She curated impactful exhibitions that merged art and advocacy. Anne-Hélène is also the President of Thanks for Nothing, a Paris-based NGO fostering dialogue and action between art and social engagement, exemplifying her commitment to using art as a force for change.