We are delighted to continue our series of interviews with collectors and friends of TONKA gallery – people who shape and bring to life the contemporary art world. Today, we’re pleased to share an exciting conversation with Mathilde Soubie, co-founder and CEO of Studio Artera.
After graduating and working first at the Palais de Tokyo and then at the Opéra de Paris, Mathilde Soubie founded Studio Artera in 2021, one of the very first art and talent agencies in France. Her career reveals a singular vision: discovering emerging talent, creating hybrid projects that combine public-space installations with brand collaborations, and taking art out of traditional institutions to share it with new audiences.
In this interview, Mathilde looks back on the moment that pushed her to start her agency, her criteria for the artists she represents, her international ambitions, and even her collection and sources of inspiration.
Mathilde with Diane Benoit du Rey’s paintings
Eva: After working at the Palais de Tokyo and then at the Opéra de Paris, what was the spark that made you become an entrepreneur and start your own artist agency?
Mathilde: That’s a great question. I’d wanted to launch my venture for quite some time. Back at EM Lyon Business School, I followed their entrepreneurship track, I had the entrepreneurial spirit, but I hadn’t acted on it. Then came the Covid lockdown. That period really gave me the time to reflect and take stock. It was then that I reconnected with my deepest passions: supporting artists on one hand, and contemporary art on the other. That combination, my long-standing entrepreneurial drive, plus the enforced pause of lockdown, was the trigger. That’s when I took the plunge.
Eva: So the lockdown gave you the space to think through your project.
Mathilde: Exactly. It’s rare in life to have the time to ask yourself, “Is what I’m doing right for me? Does it inspire me? If I could do anything, what would it be?” Those months of lockdown created that crucial space for reflection.
Eva: Absolutely, because in the city we’re always rushing around, chasing deadlines, and so on. Why did you decide to stay in Paris to develop Studio Artera? What does this city give you that others couldn’t? You could have moved to another French or European metropolis.
Mathilde: When you launch a business, I firmly believe you should start where your strengths and network are. For me, that was Paris. I grew up here and built both my personal and professional network here. That’s why I began in Paris. We’ve been expanding internationally for about a year now, but our roots are here. Moreover, Paris is simply incredible for culture and art, there are always new artistic projects, and it has been a major creative hub for a long time. That’s why Paris is one of the world’s best cities to launch an art venture, alongside New York, London, Berlin, and the like.
Eva: It makes sense, you know how things work in France, and it’s a safer, more solid base. In terms of entrepreneurship, you now represent several up and coming visual artists. What qualities do you look for when choosing an artist to join your agency, and how do you support them day to day to propel their careers?
Mathilde: The way we choose our artists starts with the fact that we’re not a gallery but an agency, and that really matters. Artistically, we don’t follow a single aesthetic line because we want to represent each artist independently. Our aim is to take art out of galleries and museums and bring it to the widest possible audience. In terms of criteria, we look for artists who, beyond being very talented, have a genuine vision. It’s not necessarily about activism, but they do need a message, something they want to share, and the real desire to share it. Innovation is fundamental for us too. That doesn’t always mean technology; it can simply be an artistic approach that hasn’t been seen before, that offers something new. We are looking for artists who are constantly trying to refine and develop their practice, and that’s vital if they’re to stand out. I’d also say an artist’s personality is just as crucial, because we don’t only promote their art but who they are. We’re after strong personalities, ready to go far and work hard, because we don’t just stage exhibitions, we create public-space art projects and brand collaborations. The artists have to want that, be ambitious and able to deliver. Sometimes we compare ourselves to VC investors who bet on start-up founders; we do the same with artists, backing people we believe are extraordinary because they give themselves the means to be. That’s a key part of our model.
Anfisa: Just a quick question. In a few words, how would you define the difference between an agency and a gallery? What are their goals? I’m not really up to speed on that.
Mathilde: Agencies are still a relatively new model in the art world, especially in France, so the difference isn’t always clear. What inspired us is how talent agencies work in other creative industries, such as film or sports, where they don’t just promote a person’s work, but represent them as individuals and public figures, and help them build a long-term career across multiple platforms. That’s exactly what we do for visual artists. We believe artists should be more than just signatures on a canvas. They should be the headliners of tomorrow. Visual artists deserve a stronger presence in mainstream culture, just like actors, singers, or athletes. To get there, they need the right visibility, the right opportunities, and someone to stand by their side. That’s our role. A gallery, for me, is first and foremost a space. It hosts exhibitions, participates in art fairs, and works closely with collectors and institutions. Our mission is complementary and broader. We take art out of the traditional white cube and bring it into the world through brand collaborations, public art projects, digital campaigns, and so on. While we do operate within the art market, our scope extends beyond it. We see ourselves as part of the larger visual world, and we’re helping artists connect with the world on a much larger scale - to inspire millions of people every day.
Anfisa: And can an agency sell art the way a gallery does, or not?
Mathilde: Absolutely. We often sell to collectors and companies. The more public-art projects, institutional exhibitions, and brand collaborations we do with our artists, the more people come to us wanting to buy their work. It’s a virtuous circle.
Mathilde in the Artera workspace, Paris
Eva: As a female founder and leader in what’s still a rather male-dominated art world, have you faced any particular obstacles? What experience can you share?
Mathilde: Honestly, I haven’t felt that myself. From the moment I struck out on my own as an entrepreneur, I carved out my place. By doing that, I haven’t felt any specific discrimination, because I chose to see myself as legitimate. I built a team that sees me the same way, and I’ve always felt my actions earn my credibility.
That being said, I’m very aware that this isn’t the reality for everyone. Some women in the art world have experienced systemic barriers or gender-based violence, and those need to be acknowledged and addressed. We all navigate this world differently depending on where we start and how we’re perceived.
Where I see inequality most clearly is when it comes to women artists. They’re still underrepresented, under-recognized, and undervalued in the art market. We receive significantly more submissions from male artists, and it can sometimes be harder to position women on certain high-profile projects. That’s not about talent. It’s about visibility, access, and long-standing structural imbalance At fairs, female artists can make up less than 30 %. At Studio Artera, we take this seriously. We actively work to promote female artists, not just in numbers but in impact. We aim for gender parity in our roster and we push women artists forward for major public, commercial, and cultural projects. Change won’t happen unless we create the conditions for it. That means giving women artists the spotlight, the stage, and the support they’ve long been denied.
As an entrepreneur, I haven’t felt discrimination, maybe because I decided not to see it and to forge my own path.
Eva: Maybe it’s a niche field that still hasn’t fully developed in France.
Mathilde: I think it also depends on how you choose to see yourself. I told myself that if I was going to launch Studio Artera, I’d go all in, be legitimate, be credible. Once you decide that, even if some people try to put you down, you ignore it and move on. If you worry too much about what others think, men or women, you don’t move forward.
Anfisa: So within the agency you keep at least 50 % women artists. Do you have other criteria for minorities, sexual or cultural, for example? More like quotas, because it’s interesting to know how that’s managed.
Mathilde: Great question and it’s one we reflect on constantly. Gender parity is a clear goal for us, and we work to maintain at least 50% women artists in our roster. Without that intention, the balance can quickly tip. Many artists who are already visible or established tend to be men, simply because of how the art world has historically functioned. But when we take the time to look deeper, some so many brilliant women artists deserve the spotlight. It’s like with company quotas - the talent is there, but you have to go and look for it. That’s our responsibility, and it’s something we’re committed to.
Where we know we can do better is on broader diversity. At first, we mostly worked with French artists, and that naturally led to a certain similarity in backgrounds and profiles. But that’s changing. We’ve opened up internationally, and we’re actively looking to bring in more diverse voices, whether culturally, socially, or geographically. We haven’t set hard quotas beyond gender yet, but now that the agency has grown, we have more capacity to do this work thoughtfully. Expanding the range of artists we support is a clear priority for the next phase of Artera.
Eva: Which achievement of Studio Artera makes you proudest so far? Is there a particular project you’d like to share?
Mathilde: That’s a tough question. There have been so many projects we’re proud of. One that really stands out is our presence at Art Basel, in Paris, Miami, and Switzerland. It’s the most prestigious contemporary art fair in the world, and the fact that we were able to exhibit the artist Silvère Jarrosson within the fair itself, in collaboration with one of its key sponsors, NetJets, was a major milestone for us. Just a few years ago, the idea of an agency exhibiting at Art Basel would have seemed unthinkable. It was a strong signal that our model is not only viable, but respected at the highest level of the art world.
What makes me even prouder is the range of contexts where we’re able to operate. We can be present at Art Basel or at Christie’s, but also in retail experiences, in hospitals, in the public space, or in the world of sports, like with our collaboration with Paris Saint-Germain. That’s our strength: we don’t set limits. We believe art can be everywhere and speak to everyone, and we’re committed to building bridges between artists and every part of society.
Painting: Diane Benoit del Rey
Anfisa: This might sound like a silly question, but when a company wants to commission an artwork, how does it work in practice? What does B2B look like for you?
Mathilde: It actually works in two ways. More and more often, companies, institutions or cities come to us and say, “We’d like to create an art project. Here’s our context or intention - what would you suggest?” In that case, we start by understanding their values, objectives, and challenges, then we recommend artists from our roster along with creative formats that could bring meaning and impact to their project. From there, we take care of everything: curation, production, coordination.
But it also works the other way around. Because we work so closely with our artists, we have a deep understanding of their vision, their strengths, and where their work can resonate. So we often identify potential partners - brands, institutions, public bodies - whose universe aligns with an artist’s practice, and we proactively reach out to create new collaborations. It’s a very dynamic, two-way model that allows us to build relevant, tailor-made projects with real cultural value.
Eva: You’ve already mentioned your future goals, especially going international. Do you also plan to approach small or medium-sized towns, or will you focus only on big cities?
Mathilde: Currently, international growth is our top priority. We’re already well established in France and Europe, we’ve worked in Miami, and right now we’re trying to gain a foothold in the Middle East, where there are plenty of opportunities.
More broadly, we want Studio Artera to keep expanding. We now have six people in the team, but we know we could have many more and support more artists. The bigger our team, the bigger our impact. I think we could reach tens of millions of people with our projects.
I’d also love to run initiatives in medium-sized towns. It’s a challenge that matters to me, but funding is often tighter there, and even major Western cities are on strict budgets right now, so smaller towns find it even harder. Overall, the economic climate is tough at the moment.
Long term, I’d like to set up an Artera Foundation to deliver more not-for-profit projects. As a company, we have to stay profitable, so under-funded projects are hard to sustain. Still, we’ve already done a pro bono project for AP-HP, the Paris hospital network: at La Pitié-Salpêtrière, we repainted walls and installed artworks in several departments, including oncology, entirely free of charge. We could do the same for hospitals in other cities. We remain very committed to that kind of work.
Anfisa: How do you choose the projects or companies you work with so they match the artists’ values? Do you have ethical rules, like refusing alcohol or tobacco advertising? Do you boycott certain brands?
Mathilde: Our job is all about creating the right match between an artist and a partner. It’s really a question of coherence and common sense. Take our collaboration at Art Basel with NetJets, a private jet company: we obviously wouldn’t propose that to an artist whose practice is rooted in militant environmental activism. When a client briefs us, we look for artists whose work resonates with the subject, but also whose involvement feels fair and authentic. It’s not about greenwashing or pinkwashing. It’s about building partnerships that make sense.
That requires knowing our artists very well. And if a project doesn’t align, they’ll say no anyway and we support that. We have to be strong enough to preserve that integrity. The reverse is also true: when we start from the artist, we spend time understanding their values and vision before identifying the right partners. Take Silvère Jarrosson, for instance - he’s presented work at the Natural History Museum and the Paris Opera. Both spaces made perfect sense, as his practice is deeply rooted in biology and movement. Silvère is a trained biologist and a former dancer with the Paris Opera Ballet, so those collaborations naturally echoed his universe.
Some artists have more politically or socially engaged practices, and yes, that can be more challenging. Feminism, ecology, postcolonial narratives - these are subjects that sometimes make companies uncomfortable. We have in our group of artists Elsa Leydier, whose work is deeply committed to these themes. It can take longer to find the right collaborations for her, but we believe in making space for these voices. Art allows difficult conversations to take place in a more sensitive, human way. Our role is to facilitate that dialogue, not to erase it.
We’re not perfect, but we try to stay fair and honest. We’ve turned down projects when they didn’t make sense, when we felt the brief lacked depth, or when the artist wouldn’t have been fairly compensated. That matters too. So I wouldn’t say we have a blacklist of brands; it’s more about the people, their intentions, and the sincerity of the approach. You can usually feel that on a human level. I trust my instincts a lot, and so far, they’ve guided us well.
Artworks: Itchi, Elsa Leydier
Eva: Coming back to collaborations with brands and companies: how do you make sure it stays a genuine artistic encounter and not just marketing window-dressing or advertising? How do you keep it a work of art, too?
Mathilde: Our goal is always to leave the artist real freedom. Put simply, we act as a buffer between the client and the artist and make sure the artist’s intent is respected. As long as that intent remains intact, it’s still art in my book.
Now, does “art” automatically mean a unique, one-off piece? Not necessarily. I’m convinced that if we want to reach millions of people, we have to weave art into everyday life. That’s how we see things. So yes, there can be capsule collections with brands or objects re-imagined by artists. Strictly speaking, they’re not unique artworks, because they exist in multiple copies, but they’re still art: the artist’s intention is embedded in them, and that’s what makes them authentic.
We refuse projects that treat the artist like a graphic designer following a rigid brief – you could pay someone cheaper to do that. Brands come to us because they want genuine artistic thinking.
Eva: Let’s turn to contemporary art itself. How do you feel about it right now? Are there things that excite you, or on the contrary, leave you a bit distant?
Mathilde: I’m very enthusiastic. There’s a huge amount of energy right now, and I keep meeting incredibly talented artists. From a creative and intellectual perspective, I think contemporary art is in a great place. It’s a privilege to work in this world.
What I’ve noticed, though, in recent fairs and museum shows, is a kind of shift. Art seems to be becoming less politically engaged. It’s not necessarily a bad thing, but it’s something I’m observing. Perhaps artists are more cautious about addressing certain issues given the current climate, especially when you look at what’s happening in the United States. There seems to be a general depoliticisation, or maybe just a different way of engaging with the world.
At the same time, I sense a real return to beauty. And that excites me. More and more institutions and brands come to us asking for projects that inspire, uplift, and bring emotion. For me, beauty is a powerful artistic value and today, people deeply need to feel moved, to dream again. That’s why I believe art shouldn’t be confined to galleries or museums. It needs to be out in the world - visible, accessible, part of everyday life. That’s what we’re trying to do at Artera: bring art where people are, not just where they’re expected to go see it.
From an economic standpoint, it’s a more complex moment. There has clearly been a slowdown in recent months. There are fewer buyers, fewer acquisitions at fairs, and that’s tied to the broader global context from political tensions in France to the war in Ukraine, and uncertainty in the US. When confidence drops and investment slows, the art market feels it immediately.
So yes, it’s a mixed picture. Creatively, there’s a lot to be excited about. Economically, it’s more fragile. But it’s in these moments of uncertainty that new models and new energy often emerge, and that I find deeply hopeful.
Eva: It always comes back to that point. In your view, what role should an artist play in today’s society?
Mathilde: Wow, huge question! That could be a three-year dissertation. The first thing that comes to mind is that artists are pillars: they don’t just put society into images and illustrate it, they actually think it through. They help us step back and imagine the future. I’m convinced they’re often visionaries who sense things before most people do. We need to listen to their work; whenever we’re trying to anticipate trends, artists should always be at the table.
That’s really why I do what I do. I wish visual artists, fine artists, were heard more. Film is very mainstream, music too; those art forms get a lot of attention. Contemporary visual art gets far less, yet I believe these artists can be geniuses who help us think more clearly about the future.
So I’d say that’s their primary role. The second thing that comes to mind is the joy they bring. From the very first encounter, through the emotions they spark, they can do people a lot of good. They reconnect us with our feelings and with who we are, beyond any social or societal layer, and I find that fascinating.
That’s why we want art everywhere, I think it can genuinely improve well-being. We should rethink our entire visual environment with more art. We’re bombarded with ads all the time, on social media, in our streets, and art ought to occupy more of that space, because it would truly do us good and enhance human well-being.
Eva: Yes, transforming public space, the visual space, making it more pleasant, more considered, maybe more mindful.
Mathilde: Yes, mindful, exactly. Feeding the brain with images that have meaning.
Eva: Yes, we also spoke about how tough your artist-selection process seems, because you receive so many applications. Faced with that variety, how do you choose? What do you do?
Mathilde: Honestly, it’s very complicated. We struggle to handle the flow of submissions we get. In fact, most of the artists we take on are ones we actively seek out ourselves: we visit studios, galleries, fairs, keep up with the news, go to lots of events. Very often we’re the ones who spot them and make the first approach.
Still, yes, we receive hundreds of applications every week, and we try to read them all, but to be honest we sometimes can’t keep up. Right now we’re working on a process we could put in place to handle them better.
My advice to artists looking for an agent or a gallery: really research the organisation first. If you already knew our work well, we would get far fewer applications and they’d be of higher quality. As a team, we look as closely as we can at the cover letters, portfolios, statements; if an artist seems interesting, we go to their studio or set up a video call to really get to know them. If it makes sense, we sign the artist.
Anfisa: Has it ever happened that you had a real coup de cœur but still couldn’t bring the artist in?
Mathilde: At the very beginning of the agency, we took on every coup de cœur and worked with them. Today we can’t do that anymore. Sometimes there are artists I absolutely love, personally, Mathilde Soubie the individual, but we don’t sign them, because we have to be sure we can help them, support them, take them far. We could be wrong, of course, but we really have to ask: “Can we take this artist a long way?” and “Does the artist have what it takes to go far?”
Our model isn’t right for everyone: not every artist is made for creating large public-space installations or for shaping brand projects. You need the right mindset and strong ambitions. We try to detect if the person is truly ready? Do they want it? Can they put in a lot of work?
Anfisa: So you also collect artworks yourself. I’m going to ask about the choices you make for your own collection, rather than for the agency. What do you particularly like to collect or acquire? Are there any artists you’re especially fond of and could mention?
Mathilde: Absolutely. My collection is very wide from painting to collage and photography with artworks from artists like Silvère Jarrosson, Laurent Karageuzian, Tiffany Bouelle, Caroline Derveaux, Itchi and Adeline Care.
Eva: What does a typical day look like for you as the CEO of an artists’ agency? Do you have any rituals or special moments that inspire you on a daily basis?
Mathilde: I love meeting up with my team at the office. We’re a close-knit group, and it’s a real pleasure to work with them, surrounded by artworks. Our headquarters are beautiful - right in the 10th arrondissement, where those photos were taken, and I love being there.
What I enjoy most is that no two days are alike. One minute I’m visiting an artist in their studio; the next I’m with clients or prospects. It’s fascinating: I might have a meeting with a museum, then with a brand, then with a collector. The people we talk to are always different. We can be working with City public services one day and the luxury brand Maison Margiela the next. That human connection is what I adore about my job.
Anfisa: What other art forms or media attract you? Has a recent exhibition, studio visit, film, or book made a particular impression on you?
Mathilde: I was in the Middle East recently, Dubai and Abu Dhabi, and those were my latest art experiences. They were fascinating on so many levels. First, I discovered the Louvre Abu Dhabi, which is truly splendid. Right next door is teamLab, and I found it extraordinary - very experiential. It felt like the future of digital art and how it might one day appear in France.
Another thing that struck me in the Middle East is how public space is used: there are grand installations everywhere, and it’s amazing. That’s the main takeaway from this trip over the past two weeks.
As for reading, there’s a book that moved me deeply. It doesn’t talk only about art, but about beauty in our lives. It’s magnificent, very poetic, and I think anyone who searched for beauty and philosophy in his life should read it. The title is Five Meditations on Beauty (Cinq méditations sur la beauté) by François Cheng. It really touched me.
Eva: To circle back to innovation for a moment: with all the rapid advances in digital and tech, do you keep watch or make projections so you can anticipate new artistic forms at the studio?
Mathilde: Definitely. We represent some artists who work right at that intersection, mixing art and tech. We’re very focused on innovation in all its shapes. For example, we work with Benjamin Bardou, one of the pioneers of using artificial intelligence in art in France. His pieces are stunning. We also support Romain Lalire, who works notably with holograms. So yes. It’s important to ask where digital art can go. I don’t think digital art will distract us from “real” art; it can become physical too – holograms, for instance, turn into objects, not just screens, and that can be very poetic.
Interview: Eva Ungureanu, Anfisa Vertash
Photos: Elizaveta Luzina