20 Years of Composition Gallery - A Conversation with the Founder
Twenty years ago, buying museum-quality art online was widely considered risky—if not reckless. Trust was built face-to-face, pricing was opaque, and acquiring significant works digitally was far from mainstream. Composition Gallery emerged in that context, choosing a path that was global, digital, and uncompromising in its standards long before the market caught up.
To mark two decades of activity, we spoke with Kris Ghesquière, founder of Composition Gallery, about the origins of the gallery, its values, and its perspective on the contemporary art market.
At a Glance
- Global online gallery representing approximately 600 blue-chip artists
- Shipments completed to 50+ countries worldwide
- A meticulously curated inventory of nearly 10,000 works—spanning prints, sculpture, photography, and design objects
- Rigorous authenticity checks, high-resolution documentation, secure payments
- A multilingual team speaking eight languages combined, ensuring precise communication across markets.
From Collector to Founder
Your journey into the art world began as a collector rather than a dealer. How did that evolve into founding a gallery?
My relationship with art started in my early twenties, driven by curiosity rather than strategy. I collected contemporary works instinctively, occasionally selling one piece to acquire another that felt more compelling. Over time, I realized I was selling more than buying.
That transition led naturally to the creation of Kunzt Gallery in Belgium, at a time when online galleries were still a novelty in Europe—and likely making us one of the longest-running online galleries in Europe. What began intuitively gradually became a professional structure grounded in experience, continuity, and long-term commitment.
Five years ago, we rebranded as Composition Gallery. The new name reflected what the gallery had already become: more international, clearer in identity, and aligned with a global audience rather than a local one.
The Vision Behind the Gallery
What was the original ambition behind Composition Gallery?
The objective was to remove unnecessary barriers. Art is inherently international, yet access was often limited by geography. Twenty years ago, buying significant works online was uncommon, but it was evident that digital access would become essential. The challenge was not technology—it was trust.
From the outset, the focus was on building a structure that could support long-term confidence: transparent pricing, detailed documentation, consistent standards, and accountability.
Choosing Digital Over a Physical Space
Why did you commit fully to an online model rather than opening a traditional gallery?
Freedom and reach. I have lived in several countries—Belgium, France, Uruguay, and now Georgia—and traveled to over 100 countries over the past two decades. That exposure shaped how I understand collectors, cultures, and logistics.
An online gallery was not a theoretical choice; it was a practical response to a global reality. Collectors in New York, Singapore, or Paris can receive the same level of attention, often on the same day. That equality of access is fundamental.
Early Challenges: Inventory and Trust
What were the main obstacles in the early years?
Trust, without question. We started with roughly 100 works from my personal collection. Today, the inventory has grown to nearly 10,000 works, sourced from established galleries, reputable publishers, and long-standing private collectors.
In the early days, hesitation around high-value online purchases was understandable. The response was not aggressive marketing, but consistency: accurate descriptions, clear communication, careful logistics, and responsibility. Over time, a clean track record becomes its own credibility.
What Sets Composition Gallery Apart
How do you define the gallery’s position today?
First, curation over volume. We do not aim to list everything that is available. We present works that meet institutional and market standards. Our artists are represented by major museums and collections worldwide.
Second, pricing integrity. We do not inflate prices to simulate discounts later. Artificial reductions undermine trust and distort the market. Our prices are set correctly from the start, based on condition, provenance, and market context.
Third, human involvement. Despite operating digitally, the process is not automated. Collectors interact with people who understand the work, the logistics, and the responsibility involved.
A Clear Position on Mega-Platforms
What is your view on large, mass-scale art platforms?
Many mega-platforms prioritize scale over coherence. The result is an overwhelming volume of uneven quality, inconsistent pricing, and limited accountability. Art becomes a catalogue item rather than a considered acquisition.
Our approach is deliberately narrower: fewer works, stronger context, and direct communication. Serious collectors tend to value clarity over abundance.
Sourcing & Curation
Where does the inventory come from?
From top-tier galleries, reputable publishers, and long-term private collectors. Every work is reviewed for authenticity, condition, and fair pricing before it is listed. Commercial potential alone is never sufficient; if a work does not meet our standards, it is not offered.
Why Georgia?
Your base in Georgia surprises some clients. Why did you choose it?
It is important to clarify that Georgia is a personal base for me, not a logistical or operational hub for the gallery. Composition Gallery’s artworks are not located in Georgia. Our inventory is held with partner galleries, publishers, and climate-controlled facilities across Europe, the United States, Asia, and South America. Every work is shipped directly from these global hubs.
All logistics, packing, and international shipping are handled through established professional partners in those regions. No artworks are dispatched from Georgia, and no storage or consolidation takes place here. This ensures that a collector in New York or London receives their work from a local, top-tier art handler, maintaining the highest standards of safety and efficiency.
My choice to live in Georgia is driven by my passion for nature and history. I maintain a house in the mountains where I spend time away from cities, surrounded by forest and silence. That balance between intense professional activity and physical space is essential to how I work.
At the same time, I am deeply connected to Tbilisi’s historic architecture. Over the years, I have acquired and restored several Tsar-era buildings, rethinking their interiors while respecting their original character. Design is not a commercial extension of my work; it is a genuine passion. Living here, positioned between Europe and Asia, allows me to oversee a global network with an independent, long-term perspective, while ensuring our operations remain fully aligned with international standards.
Building Trust Online
How do you address concerns about authenticity and international transactions?
Through transparency, structure, and human oversight. High-resolution images, detailed condition reports, certificates of authenticity, secure payment systems, and insured international shipping form the technical foundation.
Beyond that, trust is reinforced through direct personal attention: no automated shopping carts, no anonymous checkout process. Each acquisition is followed internally from first inquiry to final delivery by a team that communicates continuously—both internally and with trusted partners worldwide. This ensures accountability, consistency, and clarity at every stage.
Over more than 20 years and shipments to 50+ countries, we have never had an authenticity dispute. That outcome is the result of process, vigilance, and shared responsibility—not chance.
Advice for First-Time Online Collectors
What should new collectors pay attention to?
Longevity and reputation matter. Look at a gallery’s history, reviews, and presence on recognized platforms such as Artsy or Artnet. Ask questions, request documentation, and do not hesitate to ask for additional images or videos. A professional gallery welcomes scrutiny.
On Investment and Value Retention
Are certain artists more secure choices?
We do not offer formal investment advice. Art is not a formula. That said, for larger budgets, value retention is an important consideration. Historically, blue-chip artists such as Warhol, Picasso, Miró, Chagall, Lichtenstein, and Kusama have demonstrated long-term stability.
Looking Ahead
Where do you see the online art market evolving?
Toward greater transparency and more intelligent discovery. We are investing in improved search, multilingual content, and AI-assisted curation—not to replace expertise, but to support it. The next phase of online art commerce will reward depth and reliability rather than sheer scale.
Personal Taste & Collection
Which artists resonate most with you personally?
Arnulf Rainer for his intensity; Robert Longo and Ed Ruscha for their precision; Zhang Xiaogang and Nobuyoshi Araki in Asia; Zanele Muholi for her emotional clarity; and Bernd and Hilla Becher for placing soul within industrial and architectural structures.
My personal collection spans prints, sculpture, and photography, with each work tied to a specific moment or encounter.
Art, Architecture, and Living Spaces
Your work increasingly moves between art, architecture, and living spaces. How did interior design become part of your practice?
Art and space are inseparable. The right artwork transforms an interior, and the right interior elevates the artwork. I take on a limited number of interior projects each year across South America, Europe, and increasingly China. More information is available at Ghesquiere.Co.
Editorial Recognition
Over the years, my work has been featured in international publications, including ELLE Decor, which covered my restored estancia in Uruguay, as well as Georgian architectural and design media such as Interieri Magazine and Homeis.ge.
These articles focused on completed projects: my mountain house in Georgia, the restoration of a Tsar-era apartment in Tbilisi, and a guest apartment designed for visiting friends and collaborators. None of these features were commissioned or promotional; they emerged organically from long-term work at the intersection of art, design, and lived space.
A Final Note
After twenty years, the responsibility remains the same: to guide collectors carefully, communicate transparently, and treat every acquisition—large or small—with the same level of seriousness. Trust is not a slogan. It is built patiently, transaction by transaction, over time.
Want help choosing a piece?
Looking for a specific artwork or artist?
Tell us what you have in mind, and we’ll respond with carefully selected options.
© 2025 Composition Gallery — Interview with Kris Ghesquière
Voices from Collectors and the Art Market
Private Collector, London
“Over the years, Composition Gallery has played a decisive role in shaping my collection. Their guidance is measured, precise, and consistently grounded in long-term considerations rather than short-term momentum.”
Independent Art Advisor, Berlin
“In an online environment that often prioritizes volume, Composition Gallery stands out for its selectivity and internal rigor. Their approach aligns closely with how advisors evaluate quality, provenance, and market coherence.”
Art Market Commentary
“Composition Gallery belongs to a small group of early online galleries that helped professionalize digital art transactions well before they became widely accepted.”
Twenty years ago, buying museum-quality art online was widely considered risky—if not reckless. Trust was built face-to-face, pricing was opaque, and acquiring significant works digitally was far from mainstream. Composition Gallery emerged in that context, choosing a path that was global, digital, and uncompromising in its standards long before the market caught up.
To mark two decades of activity, we spoke with Kris Ghesquière, founder of Composition Gallery, about the origins of the gallery, its values, and its perspective on the contemporary art market.
At a Glance
- Global online gallery representing approximately 600 blue-chip artists
- Shipments completed to 50+ countries worldwide
- A meticulously curated inventory of nearly 10,000 works—spanning prints, sculpture, photography, and design objects
- Rigorous authenticity checks, high-resolution documentation, secure payments
- A multilingual team speaking eight languages combined, ensuring precise communication across markets.
From Collector to Founder
Your journey into the art world began as a collector rather than a dealer. How did that evolve into founding a gallery?
My relationship with art started in my early twenties, driven by curiosity rather than strategy. I collected contemporary works instinctively, occasionally selling one piece to acquire another that felt more compelling. Over time, I realized I was selling more than buying.
That transition led naturally to the creation of Kunzt Gallery in Belgium, at a time when online galleries were still a novelty in Europe—and likely making us one of the longest-running online galleries in Europe. What began intuitively gradually became a professional structure grounded in experience, continuity, and long-term commitment.
Five years ago, we rebranded as Composition Gallery. The new name reflected what the gallery had already become: more international, clearer in identity, and aligned with a global audience rather than a local one.
The Vision Behind the Gallery
What was the original ambition behind Composition Gallery?
The objective was to remove unnecessary barriers. Art is inherently international, yet access was often limited by geography. Twenty years ago, buying significant works online was uncommon, but it was evident that digital access would become essential. The challenge was not technology—it was trust.
From the outset, the focus was on building a structure that could support long-term confidence: transparent pricing, detailed documentation, consistent standards, and accountability.
Choosing Digital Over a Physical Space
Why did you commit fully to an online model rather than opening a traditional gallery?
Freedom and reach. I have lived in several countries—Belgium, France, Uruguay, and now Georgia—and traveled to over 100 countries over the past two decades. That exposure shaped how I understand collectors, cultures, and logistics.
An online gallery was not a theoretical choice; it was a practical response to a global reality. Collectors in New York, Singapore, or Paris can receive the same level of attention, often on the same day. That equality of access is fundamental.
Early Challenges: Inventory and Trust
What were the main obstacles in the early years?
Trust, without question. We started with roughly 100 works from my personal collection. Today, the inventory has grown to nearly 10,000 works, sourced from established galleries, reputable publishers, and long-standing private collectors.
In the early days, hesitation around high-value online purchases was understandable. The response was not aggressive marketing, but consistency: accurate descriptions, clear communication, careful logistics, and responsibility. Over time, a clean track record becomes its own credibility.
What Sets Composition Gallery Apart
How do you define the gallery’s position today?
First, curation over volume. We do not aim to list everything that is available. We present works that meet institutional and market standards. Our artists are represented by major museums and collections worldwide.
Second, pricing integrity. We do not inflate prices to simulate discounts later. Artificial reductions undermine trust and distort the market. Our prices are set correctly from the start, based on condition, provenance, and market context.
Third, human involvement. Despite operating digitally, the process is not automated. Collectors interact with people who understand the work, the logistics, and the responsibility involved.
A Clear Position on Mega-Platforms
What is your view on large, mass-scale art platforms?
Many mega-platforms prioritize scale over coherence. The result is an overwhelming volume of uneven quality, inconsistent pricing, and limited accountability. Art becomes a catalogue item rather than a considered acquisition.
Our approach is deliberately narrower: fewer works, stronger context, and direct communication. Serious collectors tend to value clarity over abundance.
Sourcing & Curation
Where does the inventory come from?
From top-tier galleries, reputable publishers, and long-term private collectors. Every work is reviewed for authenticity, condition, and fair pricing before it is listed. Commercial potential alone is never sufficient; if a work does not meet our standards, it is not offered.
Why Georgia?
Your base in Georgia surprises some clients. Why did you choose it?
It is important to clarify that Georgia is a personal base for me, not a logistical or operational hub for the gallery. Composition Gallery’s artworks are not located in Georgia. Our inventory is held with partner galleries, publishers, and climate-controlled facilities across Europe, the United States, Asia, and South America. Every work is shipped directly from these global hubs.
All logistics, packing, and international shipping are handled through established professional partners in those regions. No artworks are dispatched from Georgia, and no storage or consolidation takes place here. This ensures that a collector in New York or London receives their work from a local, top-tier art handler, maintaining the highest standards of safety and efficiency.
My choice to live in Georgia is driven by my passion for nature and history. I maintain a house in the mountains where I spend time away from cities, surrounded by forest and silence. That balance between intense professional activity and physical space is essential to how I work.
At the same time, I am deeply connected to Tbilisi’s historic architecture. Over the years, I have acquired and restored several Tsar-era buildings, rethinking their interiors while respecting their original character. Design is not a commercial extension of my work; it is a genuine passion. Living here, positioned between Europe and Asia, allows me to oversee a global network with an independent, long-term perspective, while ensuring our operations remain fully aligned with international standards.
Building Trust Online
How do you address concerns about authenticity and international transactions?
Through transparency, structure, and human oversight. High-resolution images, detailed condition reports, certificates of authenticity, secure payment systems, and insured international shipping form the technical foundation.
Beyond that, trust is reinforced through direct personal attention: no automated shopping carts, no anonymous checkout process. Each acquisition is followed internally from first inquiry to final delivery by a team that communicates continuously—both internally and with trusted partners worldwide. This ensures accountability, consistency, and clarity at every stage.
Over more than 20 years and shipments to 50+ countries, we have never had an authenticity dispute. That outcome is the result of process, vigilance, and shared responsibility—not chance.
Advice for First-Time Online Collectors
What should new collectors pay attention to?
Longevity and reputation matter. Look at a gallery’s history, reviews, and presence on recognized platforms such as Artsy or Artnet. Ask questions, request documentation, and do not hesitate to ask for additional images or videos. A professional gallery welcomes scrutiny.
On Investment and Value Retention
Are certain artists more secure choices?
We do not offer formal investment advice. Art is not a formula. That said, for larger budgets, value retention is an important consideration. Historically, blue-chip artists such as Warhol, Picasso, Miró, Chagall, Lichtenstein, and Kusama have demonstrated long-term stability.
Looking Ahead
Where do you see the online art market evolving?
Toward greater transparency and more intelligent discovery. We are investing in improved search, multilingual content, and AI-assisted curation—not to replace expertise, but to support it. The next phase of online art commerce will reward depth and reliability rather than sheer scale.
Personal Taste & Collection
Which artists resonate most with you personally?
Arnulf Rainer for his intensity; Robert Longo and Ed Ruscha for their precision; Zhang Xiaogang and Nobuyoshi Araki in Asia; Zanele Muholi for her emotional clarity; and Bernd and Hilla Becher for placing soul within industrial and architectural structures.
My personal collection spans prints, sculpture, and photography, with each work tied to a specific moment or encounter.
Art, Architecture, and Living Spaces
Your work increasingly moves between art, architecture, and living spaces. How did interior design become part of your practice?
Art and space are inseparable. The right artwork transforms an interior, and the right interior elevates the artwork. I take on a limited number of interior projects each year across South America, Europe, and increasingly China. More information is available at Ghesquiere.Co.
Editorial Recognition
Over the years, my work has been featured in international publications, including ELLE Decor, which covered my restored estancia in Uruguay, as well as Georgian architectural and design media such as Interieri Magazine and Homeis.ge.
These articles focused on completed projects: my mountain house in Georgia, the restoration of a Tsar-era apartment in Tbilisi, and a guest apartment designed for visiting friends and collaborators. None of these features were commissioned or promotional; they emerged organically from long-term work at the intersection of art, design, and lived space.
A Final Note
After twenty years, the responsibility remains the same: to guide collectors carefully, communicate transparently, and treat every acquisition—large or small—with the same level of seriousness. Trust is not a slogan. It is built patiently, transaction by transaction, over time.
Want help choosing a piece?
Looking for a specific artwork or artist?
Tell us what you have in mind, and we’ll respond with carefully selected options.
© 2025 Composition Gallery — Interview with Kris Ghesquière
Voices from Collectors and the Art Market
Private Collector, London
“Over the years, Composition Gallery has played a decisive role in shaping my collection. Their guidance is measured, precise, and consistently grounded in long-term considerations rather than short-term momentum.”
Independent Art Advisor, Berlin
“In an online environment that often prioritizes volume, Composition Gallery stands out for its selectivity and internal rigor. Their approach aligns closely with how advisors evaluate quality, provenance, and market coherence.”
Art Market Commentary
“Composition Gallery belongs to a small group of early online galleries that helped professionalize digital art transactions well before they became widely accepted.”
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