From East London’s graffiti walls to New York’s private collections, art advisor Jon Sullivan brings honesty, intention, and accessibility to a market long ruled by exclusivity.
Raised amid East London’s graffiti-covered streets, Jon Sullivan learned to value creativity in its rawest form: honest, urgent and unfiltered. That early exposure still shapes his approach as an art advisor known for integrity and discernment. A former high-value insurance professional, he views art’s worth as both emotional and material, bound by the connection it creates.
Jon Sullivan
Growing up in East London, you’re confronted with creativity in its most unfiltered form. Those walls were my first introduction to contemporary expression raw,
Jon Sullivan
His first major sale, a signed Banksy Girl with Balloon, marked a turning point built on trust rather than transaction. Since then, Sullivan has championed artists who challenge convention, such as Richard Hambleton, and has worked to make art more accessible within a market defined by exclusivity. Now dividing his time between London and New York, he sees a new generation of collectors driven less by status and more by purpose—people seeking meaning, not just masterpieces.
You’ve spoken about growing up amid graffiti-covered streets in East London. How did that early, raw form of creativity shape the way you now see and value contemporary art?
Jon Sullivan: Growing up in East London, you’re confronted with creativity in its most unfiltered form. Those walls were my first introduction to contemporary expression raw, immediate, and created without any expectation of approval or permanence. It was creativity that didn’t ask to be understood; it simply existed because someone needed to say something
That shaped the way I see art today. It taught me to look past polish and focus on intention, on the urgency behind the work rather than the environment it was made in. Some of the most powerful ideas come from places where there’s no structure, no market, no formal training, just instinct and a need to communicate
So when I’m evaluating contemporary art now, I’m still searching for that honesty. I’m drawn to pieces that hold the same kind of truth I saw on those streets: unfiltered and rooted in lived experience. East London didn’t just influence my taste; it gave me a lifelong respect for creativity that starts outside the traditional boundaries of the art world.
Your career began not in a gallery but in the world of high-value insurance. How did that experience influence your understanding of how art is valued—both materially and emotionally?
Jon Sullivan: Working in Insurance made it obvious that the material and emotional valuations are not opposites; they simply inform each other. A piece is often materially valuable because it already holds emotional significance for someone. And that in a sense is what art is not just an object we look at, but a relationship we live with.
You’ve built a reputation for discretion and transparency in a notoriously opaque market. What does integrity look like in the high-stakes world of private art advising today?
Jon Sullivan: To me, integrity as a private art advisor means being 100% honest and transparent with my client always. It also means having the confidence and discipline to advise against a purchase if I feel it’s not a good buy. Sometimes the most valuable thing I can do for a collector is say “no.” A commission can never be allowed to get in the way of judgement. If you prioritise the fee over the client’s interests, the relationship is already compromised and in this space, trust is everything.
Your first major sale was a signed edition of Banksy’s Girl with Balloon. Can you take us back to that moment, and what it taught you about trust, timing, and the psychology of collectors?
Jon Sullivan: I remember that moment vividly. Girl with Balloon wasn’t just my first major sale, it was the moment the years of closed doors flipped into trust. Until then, I was the one trying to prove myself. That sale was the first time a collector chose me, not the other way around. What it taught me is that the psychology of collecting isn’t about the price. It’s about confidence and timing. People commit to important works when they feel safe emotionally, not when they’re bargain hunting. That placement showed me the real currency in the art market isn’t the sale price – it’s trust.
You’ve been instrumental in reintroducing the late Richard Hambleton’s work to Canada after more than four decades. What draws you to artists who challenge conventions or push against the traditional boundaries of the art world?
Jon Sullivan: I’ve always gravitated to true trailblazers; the people who take risks first, who change the visual language, and who end up shaping what later becomes “accepted” or “blue-chip.” They’re the ones who redefine the playing field rather than just succeed within it. That’s what Hambleton was.
Without Richard, I genuinely don’t believe we would have the same definition of street art today. His work created a psychological interruption in the city, he broke the border between fine art and the street before there was even a vocabulary for it. Banksy, and so many others, stand on top of that foundation, whether they acknowledge it or not. Richard proved that art could live in the public space with the same seriousness, the same conceptual weight, and the same power as the gallery. He changed the architecture of what was possible. So when I look at artists, I’m always drawn to the ones who pioneer, not the ones who follow.
You’ve often said that art should be “for everyone who feels something, not just those who can afford it.” In a market defined by exclusivity, how do you balance accessibility with the realities of high-end collecting?
See also
Jon Sullivan: Although the high-end market is built on scarcity and the value of rarity, I don’t believe the feeling art evokes should ever be limited to a privileged few. Price may shape the market, but it shouldn’t define who is allowed to connect with the work.
For me, accessibility isn’t about diluting value, it’s about broadening the invitation. Collectors still receive the rarity, craftsmanship, and personalised guidance they expect, but I’m equally committed to creating spaces and moments where anyone can encounter the art, feel something, and understand the story behind it.
When artists’ narratives are shared openly and their work is visible beyond private collections, a wider audience becomes part of the conversation. And that, ultimately, strengthens the entire ecosystem: emerging artists gain recognition, seasoned collectors discover new layers of meaning, and the cultural value of the work grows alongside its market value. Art begins with emotion, and that is the one aspect that should never be exclusive.
As someone who moves between London and New York, advising clients across continents, what do you think unites collectors today—and how do you see the next generation reshaping the future of collecting
Jon Sullivan: Working around the world, you quickly realise that collectors, regardless of geography are ultimately united by one thing: the desire to feel connected to something meaningful. Whether they’re building a museum-level collection or acquiring their first piece, today’s collectors want work that reflects their values and identity. That emotional and intellectual connection is far more important now than trends or market pressure.
What’s changing is the mindset of the next generation. They’re less interested in collecting for status and more focused on purpose. They want transparency from artists, a clear narrative, and an understanding of the cultural or social context behind the work.
They’re also far more global in their outlook, their tastes are shaped by multiple cities, cultures, and digital influences rather than a single art scene.
I think this shift will reshape the future of collecting. We’ll see more fluid, cross-disciplinary collections, more attention on emerging and underrepresented voices, and a deeper appreciation for work that tells a story rather than simply occupying a space. The new wave of collectors isn’t just buying art; they’re curating a perspective. And that is pushing the entire market into a more thoughtful, open, and culturally expansive direction.
©2025 Jon Sullivan
Freelance social media consultant, Art lover and a NFT enthusiast