Inside HOFA GALLERY: Simonida Pavicevic on Art, Spaces, and Soul
EXPERTS 01.07.25
We’re delighted to feature Simonida Pavicevic, co-founder of HOFA - one of today’s most exciting contemporary art galleries. Known for her curatorial vision and commitment to emerging artists, Simonida sat down with our founder, Annie, to discuss navigating the complexities of gallery life to championing authenticity in both artists and collectors. She also shared her personal tastes, advice on choosing the perfect piece of art and thoughts on art in the digital age.
Q: Let’s start with the big one, what does art personally mean to you?
Art for me is very personal. I grew up with art. My father is an artist and now a professor of art. My aunt is also an artist. I studied art myself. So for me art has been all around me since I can remember. It was very natural for me to then work in the world of art. I have been advising on art since I left my studies.
Q: What drew you to open an art gallery in London, and why did it feel like the right place for Hofa Gallery to thrive?
To open a gallery you basically need quite a bit of courage in a way because it's very different from just working with the artist and them having their own space. As mentioned, I started as an art advisor and I have met so many amazing artists over this time. I realised they did not have a place to showcase their work and it felt very natural for me to take on that task and curate collections around the artists that I loved.
We started in St. James then moved to Maddox Street before we opened our Bruton Street gallery. Each time the space got bigger and we were able to showcase more and more artists.
"Cotton Candy" by Romina Ressia, 2013
"An Invincible Summer" by Kostas Papakostas, 2022
Q: Running a gallery isn’t always as glamorous as it seems, what have been some of the biggest challenges along the way, and how have you navigated them?
To be honest the biggest challenge for me is managing the artists. How can I put this, sometimes it feels like they are my children, sometimes they are in a good mood, a bad mood and I have to support them. They are creative and emotional, and navigating this takes a lot of energy.
Another huge challenge is logistics. Not only do we send art all around the world but we participate in 12 different art shows a year - from Chicago to Hong Kong. That takes a lot of effort to ship art around the world and not lose or damage it. We are very successful with this because we have a fantastic in house logistics team.
"New Sundown" by Zhuang Hong Yi, 2025
Q: Do you have a favourite piece of art either from your own collection, or something you’ve exhibited?
I only represent artists if I personally like their work. I cannot sell anything I don’t like. I am really impressed with Asian artists at the moment because the techniques they use are so rare and different. Everyone is unique and I really respect the detail and craftsmanship that they apply to their work. One of the earlier artists I represented was Zhuang Hong Yi and I love how his art is never still, never consistent. It changes with the light as you move around the room. It's immersive and emotional.
"The Bones We Collect" by Christian Hiadzi, 2024
Q: Can you tell OLISE readers what you would say to an emerging artist who dreams of being represented by a gallery like Hofa? What should they focus on?
We get emails all the time for new artists and we can tell straight away if they have something special and right for our gallery. If they do, we then follow up to understand more about the artist and their work. It's a process and it takes time. For emerging artists I would encourage them to really own their craft and be true to their artistic passions. Don’t change for trends or follow something that is not true to what you believe in. Authenticity is key in the art world if you want to be successful.
"Overseen" by Orlanda Broom, 2023
Q: We would love to know, if just starting out in the world of collecting art, what advice would you give to help them build a collection?
The first question I ask is: Are you looking for just an investment and you don’t care if you like it or not? If the answer is yes, and they are going to buy art to store for five years before they want to sell it on then I will direct them one way. If they answer that they want to live with the art as well as it be an investment then I direct them another way. I always advise my clients to pick the art that they love. They are going to live with it and see it every day. It has to resonate with them on an emotional basis.
"Ajah in disguise VI" by Ayobola Kekere-Ekun, 2024
Q: Do you collaborate with interior designers? How does that partnership work when it comes to finding the right piece for a client or space?
Yes, very much so. I work with all of the big design firms in London and on a global scale. I have worked on a lot of hospitality projects, where I am sourcing art for hotels, restaurants and residences. We also work on residential projects and designers will often bring their clients to the gallery so we can understand their tastes and needs better. Sometimes we even take the art to their homes so they can see it in situ to help them make a decision.
"Blooming Kaleidoscope 924" by Jan Kaláb, 2024
Q: Art is often an investment. What's your take? Can you make an impact with a modest budget, or is bigger always better?
Yes, you can start a collection on a smaller budget. It's all about timing, buying art when the artist is emerging is always the best approach where you will get the most value and investment.
"Inner Celestial Fire" by Lyès, 2024
Q: How do you see art evolving in the digital age, and what impact has it had on the way you curate and connect with audiences?
I think artists are embracing the digital era and we definitely support this movement. We have done many collaborations with artists expressing their works using digital tools. And that is an important point for me - it's a tool just like a paintbrush is. No machine wakes up and says “ooh what am I going to create today. The artist does”.
