We had the pleasure of speaking with Tara Heuzé-Sarmini—a social entrepreneur, art collector, and lifelong creator whose work seamlessly blends activism, community-building, and artistic expression. For Tara, art is more than an aesthetic pursuit; it’s a powerful tool for storytelling, connection, and change.
Born in Paris into a multicultural family, Tara has lived across Russia, England, and the United States. She pursued studies in political science, finance, energy and environment, always focusing on tackling social challenges. She is the founder of Règles Élémentaires, a non-profit organization fighting period poverty, and Commune, the world’s first coliving company for single-parent families.
But beyond her entrepreneurial ventures, Tara has a deep and personal connection to art. A passionate sculptor since childhood, she has been working with ceramics since the age of three—an early creative spark that naturally led to her love for collecting contemporary art.
Eva: Would you say your passion for ceramics sparked your interest in collecting art, or was it something you were exposed to while growing up? Did your parents collect art?
Tara: I think it’s both. My mother’s side of the family, in particular, has always been very interested in art. My cousin’s godfather is a well-known art dealer, and one of my mother’s childhood friends became a major contemporary art collector. So, even though my parents didn’t necessarily build a big collection themselves, I was exposed to that world from an early age.
Beyond that, my family has always believed in supporting emerging contemporary artists. And as an artist myself, I understand firsthand how much work and resources go into creating art. Art has the power to shape narratives, construct representations, and translate ideas. So, when I grew up and started earning money, I wanted to contribute to that at my own level.
I really started collecting when I lived in Russia. I was very close to a circle of contemporary dissident artists, and we spent a lot of time together in the studio. I bought some pieces and received others as gifts — it was very informal at first.
Generally speaking, I try to consume less and in a less materialistic way, trying to focus more on experiences and creating meaningful memories. And for me, art is the perfect medium for that.
Eva: You mentioned that when you travel, you prefer to buy art instead of typical souvenirs. Is that right?
Tara: Yes, absolutely. Whenever I travel — whether abroad or just to a new region—I try to bring back something that will remind me of that place and moment. And when I give gifts, I want them to tell a story rather than just being objects.
For several years now, I’ve prioritized buying art when I can — or at the very least, local crafts. But I wouldn’t call myself a professional collector. The pieces I buy are always very accessible, and it’s always about a personal connection. If they happen to gain value over time, great — but that’s never the motivation behind my choices.
Eva: Do you tend to buy art more based on a whim, without necessarily planning which artists or how many works you'll acquire? Or do you have a more structured strategy?
Tara: There are definitely artists who move me and whose careers I believe will be very promising. Their works might also elevate my collection. But for me, it’s more about wanting to be surrounded by meaningful pieces — not just beautiful ones.
For example, the work by Hosam Katan is something that profoundly touched me. I’m French, but with Syrian origins — my grandfather on my mother’s side was Syrian. This piece features a child photographed in the ruins of the war, wearing a dalmatian-print coat. When I was little, growing up in Paris in the comfort of a loving home, I had almost the exact same coat. This artwork is a constant reminder of the world’s cruelty, its inequalities, and how childhood is not experienced the same way everywhere. That child looks at me every day: it’s a reality check. On top of that, I think it’s incredibly well-executed — such a powerful piece.
So, I don’t buy works solely for their aesthetics, but also for what they represent and convey. They ground me in the reality of the world we live in, while reminding me of the world I want to build.
Anfisa: That ties into a related question — do you find it important that the artworks you collect carry meaning? Or is it more about personal preference?
Tara: Yes, absolutely. There are pieces I want simply because I find them aesthetically pleasing and they fit well in my space. But even when it comes to decorative elements, I’d rather support artists than buy mass-produced posters on Amazon — which, by the way, I never did.
There are so many incredible artists around the world creating amazing work. So even for something as simple as decoration — yes, even in my restroom — I choose original art. Some pieces are more lighthearted, while others carry a deeper meaning.
I also allow myself to buy works that just make me smile, that fit my interior design vision, or that remind me of someone. Some are just souvenirs from a special moment during a trip. But in general, the pieces I collect either carry a strong message, are created by artists with a bold vision, use innovative techniques, or reflect an important message — or sometimes, all of the above.
That definitely plays a role in my collecting decisions.
Anfisa: So, you don’t necessarily have a specific style, medium, or subject matter you prefer? Maybe ceramics?
Tara: Actually, no — I almost never buy ceramics.
Anfisa: Because you make them yourself?
Tara: Exactly. I’ve always told myself I already have too many ceramics, so there’s no need to buy more! That said, I do buy a lot of crafts and handmade objects. When I visited Portugal, I brought back unique plates. When I traveled to Mexico, I found a beautiful bowl.
When it comes to utilitarian objects, I don’t make them myself. The only practical pieces I’ve ever created were for my own home when I first moved in: small shelves, candlesticks, coasters and soap-holders! But apart from that, I’m really not interested in making things I can find elsewhere. There are plenty of talented people who do it much better than I could, and I’m happy to support them.
As for the types of artworks I collect, it also depends on the stage of life I’m in and the space I have. Right now, I tend to go for drawings, photographs, and pieces that don’t take up too much storage space while waiting to be displayed. I hold back from buying monumental works, even though I’d love to — but for now, I have to be realistic and take into consideration the space I live in!
Anfisa: Are there any particular themes or subjects that resonate with you? Looking at your collection, there’s such a variety of works with different themes and styles.
Tara: I’m not sure if there are specific themes, at least not ones I consciously think about when collecting. But when I reflect on it — even when I buy postcards or cut images out of catalogs that I like — I notice certain patterns. For example, I seem to be drawn to facades. That’s something I’ve inherited from my mother; she’s always been drawn to them. I still remember being fascinated by a photograph of facades printed on aluminium that my mother bought at an art fair when I was a child, and I think that influence remains.
Many years later, in 2023, I myself bought a photograph of a building facade in São Paulo where you can see someone sunbathing at their window during COVID, unable to leave their home. I realize that cityscapes are very present in my choices, which ties back to deeper interests and notably the understanding that transforming cities transforms lives.
Anfisa: I see you also have a large artwork of what looks like social housing.
Tara: Yes, those are from my mother. She gave them to me when I moved here. They are actually stools — three cardboard stools depicting and urban environment and facades of buildings. I find it fascinating how art can elevate things that might otherwise seem sad or mundane. There’s a Russian artist I admire, Svetlana Isaeva, whom I met when I lived in Moscow. She studied at the Rodchenko School and used to take photographs of abandoned amusement parks. Her work is melancholic and deeply moving — it transforms abandoned, forgotten places into something powerful and beautiful. That concept — turning something ordinary or tragic into art — resonates with me.
I think another thing that excites me about the artworks I make or buy is their materiality and kinetic quality. For example, I purchased a colourful traditional shield in Cameroon adorned with beads and shells — it’s incredibly beautiful and textured. The Maasai heads behind me are made of a similar technique. I also have other pieces with moving elements. I really enjoy the playful and tactile dimension of certain works; indeed, I truly value pieces that appeal to more than our only visual sense.
Last but not least, a lot of the artworks I buy are souvenirs from places I’ve lived and traveled to. As mentioned earlier, I really started collecting art 10 years ago, when I was living in Russia, where I was very close to a group of dissident artists - most of whom are in exile today, and, as a result, a significant part of my collection comes from there.
Anfisa: Do you remember the first artwork you ever bought or received?
Tara: Yes, though it’s not here — it’s at my mother’s place. When I was born, someone gifted me a painting that tells a story, almost like a giant comic strip. It was in my childhood room, and I grew up with it. As for the first artwork I bought myself, it was during my first trip to New York in 2012. I purchased two screen-printed photographs by Tiggy Ticehurst — one depicting an obese American flag, criticizing fast food culture, and the other a rainbow-colored Guggenheim. I believe that was the first time I was buying art with my own money.
Anfisa: Do you ever showcase your collection?
Tara: Right now, I don’t exhibit my collection professionally — I’m not looking to publicly display or promote the pieces I’ve acquired. But I do host a lot — dinners, parties, gatherings — and naturally, my guests notice and discuss the art. It sparks conversations, connections, and exchanges. As for my own artwork, I did two exhibitions in the past and have one of my bronze sculptures on permanent display at the New Hall Art Collection in Cambridge, which has Europe’s largest contemporary art collection of works made by female artists. So far, I haven’t actively pursued exhibitions —but this might change!
Anfisa: And what about your personal practice? Why did you choose ceramics over something like drawing, for example? Is there a story behind this choice? And what themes inspire your work?
Tara: That’s a good question. First, I owe the credit to my mom — she’s the one who signed me up for a ceramics class. Apparently, the first time, I really didn’t want to go, but very quickly, I fell in love with it. Is it related to the fact that my name, Tara, means "earth" in Celtic? Who knows…
As for themes, they’re extremely varied. There are animals, female bodies, abstract and figurative forms — some inspired by my travels, like cactus shapes after a trip to Mexico, tropical leaves after a trip to Brazil, or even pastries, which I made just for fun. But what truly interests me is the technical exploration. I’m pretty impatient in general, yet ceramics is the one area where I can show infinite patience. What excites me the most is creating pieces that are technical prowesses, notably by defying gravity, and that are unique.
I experiment with materials, precariously balanced structures, or hollowed-out, perforated forms. One of my works, the chained bust, had its chains explode in the kiln, turning it into an “unchained” sculpture. Everything I make is done entirely by hand, without models, molds or digital tools. The act of sculpting and bringing to life otherworldly things is for me the epitome of creation. It materialises the power of imagination. And it’s a constant reminder that we can all be builders and shape our future.
Eva: So, it’s a fascination with form and technique?
Tara: Exactly. I love doing things that haven’t been done before — or at least, not in the same way.
Anfisa: And there's also this playful aspect, right? You can open and close them.
Tara: Yes, definitely! You can also stack them, give them different shapes and forms. Interestingly, I work a lot in series. There's the series of knots I made — all the "knots in my brain." Then there are puzzles — these are spheres that lay on top of each other and fit together if placed in the right order.
I also have a lot of mobiles. You can’t see them here, but I have quite a few in the basement — they spin on their own. Most of my pieces evolve through space and time - and some of them feel like they have a life of their own!
Anfisa: And right now, are you still creating, or are you taking a break?
Tara: Thankfully, I’m still practicing almost every week — that’s absolutely necessary to my balance. I go to a studio that follows the school calendar — so I go there on a weekly basis, except during school holidays, for more or less two hours.
Anfisa: You go to a studio?
Tara: Yes, I’ve been going to the same place since I started. It was the first ceramics course open to the public in Paris outside of universities and art schools. I still go there and keep creating. Right now, I’m continuing my knot and braid series. Some of the most recent pieces I brought back were ocean-inspired plaques. These last pieces hold together just through the glaze - which is pretty astonishing, even for me after all these years of practice.
Anfisa: And when you experiment with new textures, do you always try out different techniques?
Tara: Oh, yes. I don’t always use glaze — I also use engobe. And when I do use glazes, I mix a lot and sometimes use pigments. Sometimes, I even use pure powder without water. That’s what you see behind you, next to the photo of Frida Kahlo. The result is unexpected and brilliant.
Eva: One last question — are there any emerging artists you’re following right now, or someone who has recently inspired you? As a collector and an artist, do you have any current influences besides memories, travels, and life experiences?
Tara: Well, there are so many artists I’d like to mention! Let me grab my phone...
(After a moment)
Before I give you names, I’d like to talk briefly about the people that enlarge my artistic horizons. Mathilde, my best friend from primary school, launched an art agency called Studio Artera. Thanks to her, I keep up to date with emerging talents. Through Natasha and the TONKA gallery, I also discover unusual and politically engaged artists. Another friend, Louise, runs the visual arts section at the Atelier des Artistes en Exil, and has introduced me to incredible people fighting for their art and often their lives.
One of my latest acquisitions wasn’t for me but for my mother — it’s a piece by Mathias Bensimon, who works with light and paints in an incredible layered way.
Recently, I visited "Pouch," an exhibition by the Atelier des Artistes en Exil, called Censure (Censorship). I discovered two artists who really moved me. One is Dima Green — his work with tape is incredible. And then… I forgot her name, which is terrible because we always remember male artists' names more easily. She makes embroidered cushions representing life and integration in France and more particularly Paris, Aubervilliers, etc.
Ah - found it! Her name is Fédora Akimova!
In terms of sculptors, my biggest inspirations are Brancusi, Arp, and Barbara Hepworth. When I lived in England and studied in Cambridge, the college I was at had the largest collection of contemporary female artists in Europe. There were works by Barbara Hepworth there, as well as by Tracey Emin, whose work can be unsettling but is strong and powerful. It was amazing to grow and learn surrounded by these pieces.
For me, art must provoke emotions, awe — and, if possible, action.