What are your main responsibilities in your current role?
As Senior Manager, I lead my team in designing and delivering the Patrons Programme, managing high-value patron relationships, and collaborating closely with curatorial, operational, and events teams.
My main responsibilities include:
- Designing and curating a carefully planned annual programme of immersive events, private collection visits, artist dinners, cultural trips, and unique encounters with curators, directors, and museum experts. Beyond planning and execution, we are present at each of these events as the public face of the institution, cultivating relationships with patrons and ensuring that every interaction is genuine, memorable, and aligned with Tate’s cultural mission—which is magnificent.
- Coordinating logistics between our two London sites (Tate Modern and Tate Britain), including developing internal processes to enhance the patron experience and implementing strategic improvements.
- Managing the events budget and negotiating with external partners to ensure high standards, compliance, and institutional reputation.
What has been your professional journey to where you are today, and what were the biggest challenges you faced?
I studied Conservation and Restoration of Cultural Heritage at the University of Granada, specialising in easel painting, panel, and polychrome wood. Through an internship at an outstanding restoration company in Granada (CRA), I began working directly with Old Masters—my great passion—and also with modern pieces, which gave me a strong technical foundation.
Later, I worked in Marbella at an interior design and antiques studio, where I expanded my skills to include restoration combined with 3D design, rendering, furniture design from scratch, and managing shipments to acquire new pieces. I also worked with contemporary artists, which enriched my curatorial perspective and allowed me to handle complex budgets, coordinate international shipments, and organise exhibitions with both commercial and artistic vision.
In 2018, I moved to London. The biggest challenge was starting from scratch, especially as Brexit had created mistrust in many local workshops. I decided to pivot towards art galleries and, after a brief period of adaptation, joined my dream gallery: Louisa Guinness Gallery, where I worked for three years until becoming Creative Director.
From day one, I was assigned an incredible project, working directly with Anish Kapoor to create a piece to raise funds for building a school in Syria. I also managed secondary market acquisitions at Sotheby’s and Christie’s and liaised directly with artists’ studios and foundations to catalogue and authenticate works by artists such as Alexander Calder, Man Ray, and Claude Lalanne. In addition, I oversaw sales, marketing, and exhibition curation, always with a strong academic research component.
After three of the best years of my life at Louisa Guinness, I joined Damien Hirst’s studio, where we also had pieces from the gallery. There, I took on cross-departmental responsibilities in client relations, sales, production, conservation, exhibitions, and private matters. It was a highly dynamic environment with multiple high-profile projects running simultaneously, under significant pressure and constantly shifting priorities.
How do you stay inspired and up to date in a constantly evolving field? What platforms do you use to stay informed?
Staying inspired and informed is an essential part of my work, especially in a sector as ever-changing as culture, which is deeply influenced by social, political, and technological contexts.
My inspiration comes from a combination of direct experience, active research, and constant listening. I run a highly dynamic programme that exposes me to a wide range of exhibitions, special projects, and encounters throughout the year. Working in an institution at the heart of contemporary artistic and cultural debate is a tremendous privilege.
I make a point of attending exhibitions, art fairs, studio visits, and openings regularly—not only in London, where I live, but also when I travel for work or personal reasons.
I also keep up to date through specialised platforms like The Art Newspaper and Frieze, as well as newsletters and publications from museums and institutions I follow, as many offer valuable critical insights. I also closely follow the work of curators, cultural journalists, and contemporary artists I admire.
What skills or qualities do you consider fundamental to your success in the cultural sector?
Over my career in the cultural sector, several qualities have been key to progressing and staying strong in such a demanding, competitive, and constantly evolving environment.
First, adaptability. The cultural world is inherently dynamic: teams, priorities, budgets, and even political or social contexts can change quickly. Reading the moment, adjusting accordingly, and offering creative solutions under pressure has been essential for growth and delivering value at each stage.
Second, empathy and relational intelligence. Whether working with artists, major collectors, curators, international institutions, or younger audiences, being able to listen, understand diverse sensitivities, and build human bridges is essential to creating strong, lasting connections.
Third, strategic vision paired with meticulous attention to detail. Seeing the big picture without losing sight of small nuances—from the approach to an event to the tone of an email or the curatorial narrative of an exhibition—can make the difference between a good experience and a truly memorable one.
Above all, genuine passion for art and for what I do has been crucial. Passion provides the energy to persevere, even when the journey demands personal sacrifices. In my case, it meant leaving my country, family, and friends to build a future in another language, in an intensely competitive environment—but also one full of opportunities. Choosing an international path was a difficult, sweat-and-tears-filled decision, but the best one I could have made.
What advice would you give to someone starting their career in the cultural world?
My first piece of advice: don’t be afraid to start at the bottom. The best opportunities don’t always come right away, but every step—no matter how small—can teach you something invaluable. The cultural sector is competitive and sometimes precarious, but also deeply human: attitude, curiosity, and collaboration often open the most doors.
Second: careers in this field are not always linear. Sometimes you need to pivot, explore parallel paths, or even reinvent yourself (even if it means moving to another country temporarily).
Third: don’t underestimate the importance of learning practical skills. Knowing about art is great, but you also need to understand how to prepare a budget, manage a database, write clearly, or coordinate a production.
Fourth: give your best and Manifest, Manifest, Manifest.