As London’s art world exhales after its most electric week of the year, Maria Stocker (née Korolevskaya) pauses to reflect on what Frieze reveals about the rhythms of the contemporary art world today. A curator, collector, and consultant with over nine years of experience in private collection management, she moves through the season with the composure of insight and the curiosity of someone who sees art not only as a market, but as a mirror of our collective consciousness.
As the founder of The Art Partners, Stocker has built a platform dedicated to supporting collectors while championing women artists and patrons. More than ninety percent of her clients are women—an ecosystem she has carefully nurtured to amplify female perspectives in a landscape still marked by imbalance. Her work spans from championing early- and mid-career voices to preserving the legacies of established artists, bridging generations through empathy and intellectual rigor. In the past two years alone, she has overseen more than £1 million in sales of works by female artists, translating advocacy into measurable impact.
In 2026, Stocker will curate a landmark exhibition in Cyprus on the themes of spirituality and female power at an institution belonging to one of her collectors. Featuring artists such as Olga de Amaral, Lynne Drexler, and Sabine Moritz, the project will trace the thread between inner transformation and artistic creation—continuing her inquiry into how women articulate transcendence through form, material, and light.
Here, she shares with Whitewall her reflections on Frieze Week—the rituals that sustain her, the exhibitions that expanded her imagination, and the encounters that remind her why this moment in London remains one of art’s most revealing mirrors.
Courtesy of Thaddaeus Ropac and Eva Helene Pade.
WHITEWALL: How does a typical day during Frieze Week in London begin for you? What’s your morning ritual before the fair or meetings?
MARIA STOCKER: Historically, each weekday represents a different sector of the market. Over the weekend before Frieze—or on Monday—I usually check the auction previews. Tuesday is reserved for PAD’s preview with the same group of friends, which has become our tradition, followed by plenty of gallery visits. From Wednesday onwards, I’m at Frieze London. I’m currently researching contemporary female artists, so my network of collectors and clients often join me for walkthroughs and prearranged tours. In between, I escape to Frieze Masters.
As for my morning ritual—I wish I could say meditation or something mindful, but Frieze Week is so intense for everyone in the art world that I try to keep it simple: take supplements, electrolytes, and stay hydrated. We all need strong immune systems to survive the fall art calendar.
WW: Which exhibitions, galleries, or artists caught your attention this Frieze Week?
MS: In London: Eva Helene Pade—a must-see. Tai Shani at Gathering. Ithell Colquhoun at Tate Britain. Lévy Gorvy Dayan—La Mort d’Amour (Leonor Fini and Aleksandra Waliszewska).
At Frieze London I really enjoy the new layout introduced last year—it puts the focus on younger galleries and emerging artists. Ceramics by Sanya Kantarovsky from Modern Art and Xin Liu from Public Gallery were absolute highlights of the Focus section. I also loved the enormous and beautifully produced work by Otobong Nkanga at Lisson Gallery—thoughtfully curated, addressing environmental themes from a spiritual perspective.
It was exciting to discover the lyrical and almost cinematic works of Zhang Yunyao from Don Gallery, Shanghai. Saskia Colwell’s debut at Victoria Miro was another standout—her mastery of charcoal is exceptional. And I was drawn to the trio of female artists at White Cube—Marguerite Humeau, Sarah Flores, and Howardena Pindell—whose distinct practices were elegantly united within the booth.
Frieze Week Inspirations
Courtesy of Public Gallery and Xin Liu.
WW: What was the most inspiring moment or conversation you had during the week?
MS: On Monday of Frieze Week, Icelandic collector Sigrun Davidsdottir hosted a dinner at her home together with Copperfield Gallery. In her speech, she quoted an old Icelandic proverb: “The biggest fish is where the currents meet.” It perfectly captures the spirit of Frieze Week—from the small coincidences everyone experiences to major project announcements, this week is about cooperation and collaboration.
“This week is about cooperation and collaboration,”
Maria Stocker
Sigrun is such an inspiring woman whom I deeply admire, and her words resonated with me long after the evening ended.
WW: How do you balance the fair with your own projects or studio visits?
MS: There’s no balance! Life and work happen at the fair.
Courtesy of Gathering and Tai Shani.
WW: What are your favorite places to unwind during Frieze—restaurants, cafés, or calm corners of London?
MS: I truly miss Chiltern Firehouse—it used to be the perfect post-fair meeting spot. These days, I like Lita in Marylebone, or Bar des Prés and Maison François for quick lunches in Mayfair. I love Italian food, and Luca in Clerkenwell is excellent. If I’m heading east, my hidden gem is Cycene at Blue Mountain School, led by the incredible chef Taz Sarhane. We even had lunch there with our families after our civil ceremony—it’s a place that feels very special to me.
WW: What does Frieze Week represent for you personally, as a curator and advisor working between London and Europe?
MS: It always feels special—it’s our home fair. I’ve lived in London for 13 years and have attended Frieze every year. It carries a sentimental feeling, with wonderful memories from my early twenties. Today, I see Frieze as a cultural bridge that annually reflects ideas in the collective subconscious. It’s a beautiful week to explore, learn, and reconnect with the community.
“It’s a beautiful week to explore, learn, and reconnect with the community”
Maria Stocker
WW: Any memorable encounters or discoveries that stayed with you after the week?
MS: On Wednesday night, there was a fundraiser for Hope and Homes for Children at Jay Jopling’s private residence—an inspiring evening that reminded me how art, philanthropy, and community are deeply intertwined.
Maria Stocker’s London Favorites:
1. Frieze London
Danielle Orchard, “A Shade Garden,” 2025, oil on canvas, 174 × 204 cm; 68 × 80 in. Photo © Charles Benton. Courtesy of the artist and Perrotin.
This year’s Frieze London 2025 feels like a turning point—one about presence, perception, and renewal. Across the fair, artists are redefining materiality as a language of consciousness: sculpture breathes with mythic resonance, painting turns inward toward memory and care, and installation becomes a site of collective reflection. Themes of ecology, ancestry, and transformation pulse through the booths, revealing art’s ability to respond to instability not with noise, but with nuance.
2. Tai Shani at Gathering
Tai Shani, “The Spell,” 2025, 10 x 3 m; Courtesy of the artist and Gathering, London.
Tai Shani is an artist living and working in London. She is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. In 2019 Shani was a Max Mara prize nominee. In 2025, Shani presented The Sun Is a Flame That Haunts The Night for the High Line, New York. She also presented The Spell or The Dream, a large-scale installation and radio work at Somerset House, London, on view until September 14. In September, her second solo exhibition with Gathering, Cardinal, will span both floors with gem-like paintings and a multi-layered installation exploring ritual, movement, and transformation. – Tai Shani at Gathering
3. Bar des Prés in Mayfair
Courtesy of Bar des Prés.
Bar des Prés Mayfair, the first international venture from chef Cyril Lignac, blends French savoir-faire with London’s energy and a touch of Japanese individuality. French finesse and Japanese tradition meet in a decadent menu that celebrates seasonal ingredients and precise technique. Highlights include Crunchy crab & avocado galette, Black cod caramelised with miso, and delicate sushi such as Label Rouge salmon with avocado and jalapeño. Cyril Lignac’s signature style shines through refined dishes like the Satay beef fillet, while desserts honour his roots as a master pâtissier with creations such as the Apple tart fine, caramel sauce with vanilla ice cream and Pecan praline mille-feuille. – Bar des Prés in Mayfair
4. Cycene at Blue Mountain School
Courtesy of Cycene and Blue Mountain School.
A restaurant by Blue Mountain School. Cycene – meaning kitchen in Old English – emulates the feeling of dinner in a private home. The nine-course menu extracts optimum flavour from the simplest of ingredients, marrying classic techniques with subtle influences whilst drawing on a passion for local seafood and game. Cycene provides a dining experience that captures the warmth and intimacy of a private home. Named after the Old English word for “kitchen,” Cycene offers a thoughtfully curated nine-course menu that reflects a dedication to quality and craftsmanship. We embrace the natural rhythm of the seasons, highlighting the freshest local produce alongside the finest seafood and game. Through honoured techniques, we create dishes that balance subtle influences with deep, satisfying flavours. Each course is a tribute to simplicity and care, ensuring a dining experience that is both genuine and memorable. – Cycene at Blue Mountain School
