From Miami to New York, from private collections to high-profile art fairs, Daria Rusakova, a recognized expert in the international art market, knows everything about where contemporary art is heading. As the founder of The ART E$TATE Magazine, one of the most influential art publications in the US, she's often the first to spot rising stars and emerging trends. With dozens of successful exhibitions under her belt, work with leading US galleries, and a keen eye for discovering new artists, Daria has become a trusted voice in the art world.

This year, her insights are particularly intriguing as the art market takes an unexpected turn – collectors are returning to traditional art forms while seeking new meanings and technologies within them. In this exclusive interview, Daria discusses surprising trends of 2024, explains why handmade art is back in demand, and shares her observations on how collector preferences are evolving in the digital age.

Host: How have collector preferences changed over the past year? What art forms are most in demand now?

D.R.: I've noticed significant shifts in collector preferences over the past year. Working with major U.S. art fairs – Art Miami, ArtExpo New York, The Other Art Fair Los Angeles – I'm seeing an interesting trend: the market is tired of 'fast art.' You know, like fast food, but in art – quickly made, quickly sold. Right now, there's particular value placed on works that show complex, meticulous craftsmanship. We're witnessing a genuine return to traditional techniques: painting, sculpture, ceramics. The more labor-intensive the creation process, the more valued the piece becomes in the market.

What's particularly fascinating is the current trend toward mixed media, where artists combine various materials and tools to create multilayered works. Storytelling is playing an increasingly important role too. When there's an interesting, relevant story behind the work, it resonates much more strongly with collectors."

Host: There's often talk at international fairs about the "democratization" of art. How do you view this trend?

D.R.: For me, the democratization of art is primarily about freedom of expression, both in subject matter and meaning. Art is becoming a tool for communicating with broader audiences, moving beyond the narrow circle of connoisseurs. Artists are using universal codes and images that resonate with people from different cultures. This helps us better understand what's happening in our contemporary world. However, it's important to note: democratization doesn't mean simplification – it's more about finding new ways to communicate with viewers.

Host: Your magazine often features emerging artists. What criteria do you use when selecting new names?

D.R.: The ART E$TATE doesn't just cover established artists – we actively seek new talents who can make a strong impact on the international scene. I look for three key criteria. First, complete dedication to their craft – you can always feel that. Second, an original concept that truly resonates with audiences. And third, unique visual execution and technique.

Speaking of new names, I recently discovered an remarkable artist, Esmira Mammadova. She creates decorative panels, designer clocks, and art objects from epoxy resin, but in a completely unique way. In her works, people's personal stories transform into visual codes: life dates become unique patterns, personality traits are reflected in color transitions, and significant events are preserved in transparent layers. These aren't just interior pieces – they're personal artifacts. This approach to personalization in art is exactly what collectors are looking for right now. It's no surprise her works generated significant interest at Artexpo New York in 2024 and at the Qatar International Art Festival in 2023.

Host: How different are the trends between American and European art markets?

D.R.: They're like two different planets. And it's not just America differing from Europe – the American states themselves are so diverse that sometimes it feels like working in different countries. Miami loves bright colors, pop art, and complex mixed media techniques. California is dominated by aesthetics and sculpture – perhaps influenced by Burning Man with its massive installations. New York gravitates toward conceptual works with minimalist visual language. And that's beautiful – such diversity creates an incredibly vibrant and dynamic market.

In Europe, there's more emphasis on cultural context and historical references. American artists tend to draw inspiration from iconic elements of local culture, focusing on aesthetic components. Though these boundaries are gradually blurring now – art is becoming truly international.

Host: How is technology affecting the contemporary art market? Is it changing attitudes toward traditional art forms?

D.R.: I see an interesting paradox here. Digital art has certainly carved out its niche, especially post-pandemic. But you know what's happening? The more technology pervades our lives, the more valuable traditional art forms become. It's like vinyl records – in the streaming era, they've suddenly become more desirable than ever.

Host: How has the pandemic influenced art presentation and sales methods? What changes have stayed with us?

"The pandemic truly transformed how art is presented. Online sales have skyrocketed like never before. But what's interesting is that virtual viewings haven't replaced in-person art experiences – they've created a new format altogether. These days, collectors often start by studying works online before coming to see them in person. We've even seen the emergence of 'art journeys,' where collectors plan entire trips around visiting galleries and artists' studios."

Host: You work extensively with private collectors. Have their priorities changed in selecting works?
D.R.: You know what particularly excites me about working with private collectors? They're increasingly interested in the story behind the work and the artist's identity. The 'hang something pretty on the wall' approach doesn't work anymore. Collectors want to understand the context, process, and artist's philosophy.

Speaking of which, going back to Esmira Mammadova whom I mentioned earlier – I had an interesting experience at a recent exhibition. A quantum physics professor saw her work – a panel created for a family where their wedding date was encoded in a spiral DNA structure. He was so impressed by this idea of visualizing personal history through scientific imagery that he commissioned a piece based on quantum mechanics formulas. The result was stunning – abstract scientific concepts transformed into a personal narrative of someone devoted to science. These moments show how art can speak a very personal language to each individual.

That's exactly why at The ART E$TATE, we place such emphasis on artists' personal stories. When you understand the philosophy and context behind a work, it becomes much more valuable than just a decorative piece.

Host: How do you assess the prospects for applied arts in the international market?

D.R.: Applied arts are experiencing a true renaissance right now. I felt this particularly strongly at the recent Untitled Art Miami Beach – such a special fair by the ocean, where the morning breeze and sound of waves create an extraordinary atmosphere for experiencing art.

Collectors are increasingly drawn to works where traditional techniques are reimagined through a contemporary lens. Take Alex Anderson's ceramic sculptures, which created quite a sensation. His 'Energy Cat' made from the finest porcelain with unusual greenish glaze, and 'Daisy Chain' – a wall composition of intertwined blue daisies with gold accents – demonstrate how traditional ceramics can speak in an entirely new voice.

Or consider Christy Matson's work – she uses ancient Jacquard weaving techniques to create abstract landscapes. People are tired of mass production; they're seeking pieces with soul and story. And when you see traditional craftsmanship transformed into contemporary art – it's captivating. Especially when it comes from a true master with a unique vision.

Host: What trends do you think will define art in the coming years?

D.R.: You know, I'd say the main trend is the absence of a single trend. We're living in an amazing time when anything could become the next big thing – from traditional painting to the most daring material experiments. The key is authenticity and a strong concept. Recently, for instance, I saw works by an artist creating sculptures from recycled ocean plastic – it's both an eco-manifesto and stunning art.