Founder of ArtJaws
What made you want to develop your business in the United States?
As a start-up specialized in Art Tech, I realized that the United States offered more opportunities to find investors interested in the growth of the online art market.
Art history associated with new technologies has developed since the 60s on both the East Coast and the West Coast, and new players and incubators, like NEW INC (the New Museum’s innovation incubator) bolsters this favorable ecosystem.
And New York, where I’m now based, works like concentric circles. The notion of networking is more deeply rooted than in Europe and I regularly meet new collectors, exhibition curators and innovative artists.
You represent the WIF Foundation in the United States, what can you tell us about the transatlantic program?
I’m very proud to represent the WIF Foundation in New York, as I’ve benefited from mentoring for several years. Thanks to the transatlantic program, I’m supported in the United States too, and from now on I’m involved in setting up thematic events to develop the WIF network in the US. So, the program supports me in my development strategy and gives me an unrivalled network: some women I meet invest in ArtJaws and/or become digital art collectors! All of this in an amazing growth driver for my company.
What are your ambitions for ArtJaws?
I want to develop the same growth in the United States, but also in Asia where digital art and new technologies are very popular. ArtJaws is already present in Hong Kong which I see as foothold to spread to other Asia cities such as Seoul or Singapore. I went to South Korea as I was invited to a symposium with 10 curators and 10 international experts from the world of art. ArtJaws also organized its first exhibition at Ars Electronica in Austria, devoted to Korean and Japanese artists, in the new gallery area of this famous arts & science festival. And we regularly exhibit at contemporary art shows around the world.
> Check out Anne-Cécile Worm’s LinkedIn profile