At home with Michael

Thank you for welcoming us into your beautiful home, Michael. Could you tell us a bit about yourself? Who you are, where you're from, and what you do?

I’m Michael Aiello, an art lover who has turned his passion for art into a business. I’m originally from Naarden, but I now feel completely at home in Weesp. The quiet, charming town fits perfectly with my work in the ever-evolving art world. At 27, I started my own art and framing business. It has grown into a creative space where I not only sell and frame art, but also publish editions with and for artists. I love sharing my passion for art while creating something new and special.

What makes this place the ideal location for you to live and work?

The shop is much more than just an art gallery for me; it's a creative space where art, ideas, and editions come together. Weesp has something special. It’s becoming busier, but still has that peaceful vibe you don't always find in a city like Amsterdam. It has the charm of Amsterdam, but with the calmness and tranquility to really connect and converse with people. After living in a rental for many years, I’ve now been happily living in my own home for two years. I’ve designed it to be both practical and creative, which for me, is the perfect balance.

“For me, it’s all about the connection I feel with a piece; if I don’t feel anything for it myself, I simply can’t sell it.”

Were you raised around art?

I grew up in an environment where art wasn’t a major part of life, but my mother encouraged my interest in art from day one. I had no idea what an art fair was or which academies existed, so I had to discover a lot on my own. For me, art goes hand in hand with my entrepreneurial spirit. It gave me the freedom to not only trade art but also other special items that intrigue me. I now truly see myself as a dealer who also enjoys selling. It gives me the freedom to experiment and invest both in art and other unique pieces.

How did you get started in art dealing?

My passion for art began at a young age; I was already dealing in artworks when I was fifteen. I bought Corneille pieces online when the price was just right. After a few successful sales, I was able to purchase a larger work by Appel, and that’s when the ball started rolling. However, my path to where I am now has been far from straightforward. As an artist, I was doing well, but when the pandemic hit, everything came to a halt, and my course changed. I found my way into a framing shop, where I worked temporarily. When the owner unexpectedly passed away, I was given the opportunity to take over his business. It felt like a unique opportunity, and I grabbed it with both hands. It was hard work, but over time, I began experimenting with buying and selling art. From that moment on, my perspective changed: art was no longer just a passion, but something I wanted to work with and trade in.

“A house is not a home until I can hang my art.”

What has been an important learning moment for you?

In my work, everything revolves around reacting quickly, especially at auctions. If something comes up that catches my interest, I have to act right away because things move fast. Of course, I also make mistakes. That one time I bought a fake artwork for five thousand euros was an expensive lesson. But a good lesson, because since then I’ve stayed true to my instincts. I have one rule: I only buy what I truly like. Sometimes I buy something that makes me really happy, and then the price doesn't matter that much. What I always try to avoid are superficial trends in the art world. I often encounter fake success, especially on auction sites like Catawiki and platforms like Instagram. Artworks are sometimes artificially inflated and made ridiculously expensive, giving them a false market value. If you want to sell such a work later, it often turns out to be worth nothing.

What do you look for when choosing a new piece?

In my work as an art dealer, everything revolves around the meaning behind a piece. It's not just about the value, but mostly about the connection it makes with me. I only buy what I truly like, what means something to me. For me, it's not enough to just sell art. I want to build a real bond between the artwork and the people who will eventually buy it. If I don't feel a connection to a piece, I can't sell it. It really has to feel right, otherwise, it doesn't sit well with me.

Can you describe three special works from your collection?

One of the pieces that really fascinates me is a work by Theo Jansen, who you might know from his famous ‘Strandbeests’. It's a part of one of those creatures, a wheel powered by the wind. I find it so special how technology and art come together in his work, and this piece is one of my favorite possessions. It has meant a lot to me, but I don't have a romantic notion about holding onto art. Everything is for sale at a price; for 50,000 euros, I would definitely consider letting it go, so I can make space for new beautiful things. But for now, I’ll hold onto it.

I also feel a strong connection to the Zero movement, which has had a big influence on my collection. One piece I love is "Shredded Value" by Jan Hendriksen, which incorporates shredded dollar bills. For me, this piece is a powerful statement about how value is constantly being redefined in our society. This is one of many variants I have collected.

Lastly, I own several works by Boris Lurie. These pieces mean a lot to me and have a social significance. Lurie was a Jewish artist who had been in several concentration camps. He survived and used his experience to create his art. These works are very difficult to find because many were never sold simply because people didn’t want them.

Since 2024, you’ve also become a publisher. What does that entail, and could you highlight a special edition?

Since 2024, I’ve been publishing ultra-curated editions, with a maximum of five per year, featuring artists who are museum-active or emerging. We fulfill all of the artist’s wishes for their edition. A great example is our collaboration with Jordi Alós, a steadily growing Mexican artist. He recently worked with Sesame Street Japan, not for a children’s show, but for an exhibition where artists presented their vision of the Sesame Street characters. For his edition, we used metallic details that sparkle in the light. This was technically challenging: we worked in eight layers and completed thirteen print runs to ensure the details were perfectly preserved. The result was a unique edition of only 35 pieces. We are already fully booked for 2025 with special projects, and preparations for 2026 have even begun!

What is your main advice for people who are starting to buy art?

If you’re just beginning to collect art, my advice would be simple: buy what truly speaks to you. It should move you, not just your wallet. It may sound like an obvious statement, but in the world of art, this can be an important lesson. Even if the value of a piece doesn’t increase immediately or if the market doesn’t respond well, it will always remain valuable to you as long as it resonates with you. This is also what drives me, both as a collector and as an art dealer. It’s not always the market that determines what’s good, but the personal connection I feel with a piece of art.

In addition to art, you also have a passion for design furniture. What’s your favorite piece?

In my collection, it’s not just about art, but also design furniture. A great example of this is the trade I once made, swapping my Marcel Breuer chairs for Pastoe chairs. It wasn’t a random choice; I truly fell in love with those Pastoe chairs. The design, the history, but especially the look and the emotional value really speak to me. To me, they’re not just pieces of furniture, but objects with meaning that go beyond just the practical or aesthetic. They almost feel like an extension of my personal taste and style.

How would you describe your interior style?

I’m not really a minimalist or maximalist type, I just choose what feels right. It’s really about finding the right balance for me; everything has to align. Sometimes, I get really excited about something, but if it doesn’t fit, I let it go. Decorating is a process, and I think it’s important to take your time. It doesn’t have to be perfect in one day, take a year if you need to. It’s not about searching, but about finding. It will come together on its own if you take it slow.

What sparked your interest in Whoppah?

I’ve always been willing to resell things when I feel the time is right. If I buy something and realize it no longer fits or I’m ready for something new, then Whoppah is the perfect platform. It gives me the freedom to experiment and continually refresh my collection. Through Whoppah, I can not only easily sell things, but also find new, inspiring pieces that continue to enrich my work and my environment. It feels like a constant journey of discovery in art and design.

“Art should move you, not just your bank account.”

When does a place feel like home to you?

When I’m in my house, it doesn’t really feel like home until my art is there. I always say, ‘A house is only a home when I can hang my art.’ Art is more than just decoration for me; it’s the foundation on which I build my space. It completes my surroundings and brings me happiness. Even if I were lying in a hospital, I would love to bring my art with me because it’s so important to me. It’s not just something beautiful to look at; it’s truly a part of who I am. It makes me feel grounded, wherever I am.

Do you have a final art tip for our readers?

I’m always critical when it comes to the value of works by well-known artists, like Yayoi Kusama. The real works by Kusama are perfect, but with cheaper versions, you often notice the pattern is not quite right. This for me emphasizes the importance of doing proper research before buying art. My advice is: always buy from trusted dealers and be cautious with art from questionable sources. It really pays off to look carefully before making a purchase. And don't be afraid to immerse yourself in art. It doesn't have to be expensive—look it up, buy a piece that speaks to you, and give yourself the chance to really get to know it.

Thank you for having us, Michael!