91探花

Tell us about Subjektiv

is a platform I created to make the art world more human. It鈥檚 global, digital, and rooted in emotional connection. At its simplest, Subjektiv is an app and online space where people can discover, buy, sell, and live with art. But what really sets it apart is that we鈥檝e built it around how people feel, not just what they can afford or what鈥檚 trending.

For artists, it鈥檚 non-exclusive and fair. They can use our tools to sell directly to collectors, keep more of what they earn, and get lifetime royalties when their work is resold. For buyers, we鈥檝e created something more personal than a shopping cart. The app lets you browse based on mood, discover what you鈥檙e drawn to, and even write your own reflections. Every artwork has its own journey, and every buyer becomes part of that story.

We also handle the practical side – global logistics, payments, even taxes. You can buy with confidence and full transparency. The money go to escrow until you confirm the artwork is in your hands. Once you are an owner, artwork is added to your collection, which means you become its custodian, continuing to tell its story until it finds a new Subjektiv owner if such is its destiny.

Subjektiv isn鈥檛 about turning art into a commodity. It鈥檚 about helping people connect with beauty, train their own judgement, and surround themselves with pieces that reflect who they are. This is art for living, not just collecting.

What inspired you to create it, and what makes it different?

I didn鈥檛 come from the art world. I came from banking. For ten years, I worked in high-stakes finance, leading $25 billion in structured transactions across Europe and the Middle East. But when war broke out in Ukraine, I left that world behind. I spent a year helping the Ministry of Health overhaul medical procurement systems during a time of national crisis. That experience changed everything. It taught me that even the most rigid systems can transform. That we鈥檙e capable of building new ways of doing things – if the reason is strong enough.

After that, I started asking questions. How do we learn to make good decisions – in life, in politics, in business? I kept coming back to aesthetics. The ability to say yes or no to what you see. To feel what moves you. That instinct is vital. But it鈥檚 not taught – it鈥檚 trained. And art is how we train it.

The art world, as I saw it, didn鈥檛 reflect this. It was locked away behind price tags and institutions. So I built Subjektiv as a place where art could be encountered, not just bought. Where people could explore, reflect, and decide for themselves what they value. We鈥檝e created mood-based discovery, emotional storytelling, fair compensation models – everything designed to make art personal, not performative. That鈥檚 what makes it different.

What advice would you give to anyone thinking of launching something?

Start something only if you truly can鈥檛 help yourself. Not because it looks exciting, or because you want to be your own boss. Those reasons won鈥檛 carry you when it gets hard – and it will get hard.

There鈥檚 this myth that founding a company gives you freedom. In truth, it鈥檚 the opposite. You end up belonging not to yourself, but to the idea. To your team. To your users. The boundaries blur, and the mission takes over. So unless the mission means everything to you, don鈥檛 start.

Also, don鈥檛 do it for the money. There are more efficient ways to make a return on your time and risk. Most startups fail. Even when they succeed, the reward isn鈥檛 instant. If your motivation is external – funding, headlines, validation – it won鈥檛 be enough.

What will keep you going is obsession. A quiet kind, not just energy or hype. Something that wakes you up at 3am. Something that feels so obvious and necessary you can鈥檛 believe it doesn鈥檛 exist already. That鈥檚 the feeling to follow. If you have that, then maybe you鈥檙e meant to build something.

What excites you most about Subjektiv?

It鈥檚 the small, quiet moments. Watching someone hang a piece of art in their home, seeing how their space changes. Getting a message from a buyer saying they keep coming back to look at one particular piece. Seeing artists upload videos of their process and collectors respond with reflections of their own. These are the sparks. They remind me why we鈥檙e doing this.

I also love how we鈥檙e proving a new model can work. Subjektiv blends deep infrastructure with emotion. We鈥檝e built a system that鈥檚 secure and transparent – escrow payments, tracked provenance, resale royalties – but it never loses sight of the human connection. That鈥檚 rare in tech, and even rarer in the art world.

Then there鈥檚 the diversity. The platform is filled with artists from places that often get overlooked – Ukrainian towns, Lisbon studios, refugee camps. We鈥檙e creating a space where art isn鈥檛 just decorative, but deeply lived. Where collectors aren鈥檛 just buying – they鈥檙e connecting, contributing, discovering what moves them.

It excites me that we鈥檝e made space for all of this, and that we鈥檙e just getting started.

How has the platform evolved since launch?

We鈥檝e come a long way in a short time. Subjektiv started as a simple idea: remove the barriers between people and art. But that鈥檚 evolved into a fully-fledged ecosystem. We now support both public and private sales, mood-based discovery, resale with royalties, and global shipping. It鈥檚 not just a marketplace – it鈥檚 a layered, living platform.

One of the things I鈥檓 most proud of is how we’ve listened to users. Artists told us they wanted flexibility, so we built a dual sales model: they can either join our curated discovery feed or sell privately via QR codes and personal links. That means they keep more control and more of the profits.

We鈥檝e also developed tools that let buyers write reflections, track ownership, and even join artist-led events. The whole idea is to create a relationship with art that goes beyond a transaction. And for our artist community – many of whom are emerging or from underrepresented regions – that connection is invaluable.

On the logistics side, we鈥檝e made it possible for someone to buy a piece from a small town in Eastern Europe and have it arrive in New York within days. That reach is crucial.

But really, the biggest shift has been cultural. We鈥檙e starting to see a new kind of collector emerge – one who values presence over prestige, and emotional resonance over status.
That鈥檚 the evolution we鈥檙e here for.

What can we expect from Subjektiv next?

We鈥檙e building towards a more emotionally intelligent, globally connected art world. That means better discovery tools – ones that understand how people feel, not just what they click. We’re developing features that let you browse by mood, life moment, or even sensory tone, not just medium or style.

We鈥檙e also bringing in experts – critics, curators, artists – who can share their reflections and help others navigate their taste. These profiles will be monetised, so they鈥檙e rewarded for the value they add. In a world drowning in noise, trusted voices matter.

The secondary market is a big focus too. We鈥檙e launching a system where collectors can resell works when they鈥檙e ready for a change, and the original artist still receives royalties. It makes collections more dynamic and adds a new layer of sustainability.

Beyond that, we鈥檙e growing our partnerships with cultural institutions, grassroots communities, and tech collaborators. Whether that鈥檚 AR previews, artist residencies, or curated offline events – we want Subjektiv to be everywhere people encounter art.

Ultimately, my hope is that Subjektiv becomes the organising principle of a new kind of art economy. One that鈥檚 fairer, more reflective, and more human.