Anna Maria Savoaia

gallery assistent

Art has always been an essential part of who I am. After graduating from the High School of Fine Arts in Athens and studying Art History at university, I developed a deep appreciation for fine art photography and the powerful role galleries play in sharing culture and creativity.

My experience working in both galleries and museums has given me a strong foundation in the inner workings of exhibitions—from installation and takedown to engaging with visitors and offering thoughtful insights about the artists and their work. I love creating a welcoming and inspiring environment where people can connect with art on a deeper level.

Over time, I’ve developed strong communication skills, an eye for detail, and a passion for sharing visual stories. I’m also eager to support the promotion of exhibitions and events, and I’m always looking for new ways to connect art with a wider audience.

Being part of a gallery that celebrates fine art photography feels like a natural extension of my personal and professional journey. It’s a space where I can combine my love for art with a dedication to creating meaningful cultural experiences.

Roy Kahmann

Founder

Interview with Roy Kahman, Amsterdam, July 2025
 – Designer, collector, gallerist, photography expert, and above all: photography entrepreneur.
On images that move you, giving young talent a platform, and his dream of a photography mecca.

INTERVIEWER: Roy, your life seems devoted to photography, collecting, publishing, mentoring, and dealing. But let’s start at the beginning: when is a photograph truly beautiful in your eyes?
Roy Kahmann: Beauty, of course, is deeply personal. But for me, a photograph is only truly powerful when it doesn’t reveal everything at once. I’m not drawn to images that explain themselves too quickly, like news photos often do. I want to be left with something to interpret, something unresolved. I’m particularly moved by simplicity, strong graphical lines, especially in black-and-white portraiture. If an image is too busy or full of detail, I tend to disengage. I even love blurry photographs. There’s something haunting about what remains unclear.

INTERVIEWER: How did your journey into the world of photography actually begin?
Roy Kahmann: I started out in design. In 1979, I was a junior under the great designer Anthon Beeke at Total Design. One of the projects I worked on was a book by Ed van der Elsken. That experience changed everything. I instantly fell in love with photography and ended up buying my first original Van der Elsken print. It still hangs in my home.

INTERVIEWER: What would you say to someone who’s just starting to collect photographic art?
Roy Kahmann: First, learn what makes a photograph a collectible. It must be signed, ideally numbered and dated as well. Otherwise, you’re buying a poster. Consider the size and the quality of the print. Value often correlates with edition size: the smaller the edition, the more exclusive. And do some research: has the work ever appeared at auction? That can offer insights into market potential.

INTERVIEWER: How important is the story behind the photographer?
Roy Kahmann: Crucial. Take time to understand the artist. How long have they been working? Is the photograph a lucky one-off or part of a coherent body of work? You should be able to recognize a photographer’s style, even without seeing the name. If an artist is represented by a gallery, you know there’s commitment and structure behind the work.

INTERVIEWER: Your work seems driven by more than just a passion for art. What’s your mission?
Roy Kahmann: My mission is simple: to put Dutch photography on the global map. That’s what drives everything I do. From nurturing young photographers to promoting established ones, it’s about recognizing potential early and helping to build sustainable careers. In that sense, I’ve become something of a ‘talent agent’, though I prefer the term bridge-builder. Dutch photography is incredibly strong, I believe, because our education fosters both curiosity and critical observation. All of that culminates in the photograph.

INTERVIEWER: Is collecting emerging talent a smart entry point?
Roy Kahmann: Absolutely, though not for speculative reasons. The market value isn’t yet fixed, and there’s no guarantee the artist will continue. I once bought twelve prints from a young photographer, his entire body of work at the time. A year later, he stopped. But I still love those images. If you’re open to discovery, visit graduate shows in The Netherlands at institutions like KABK, HKU, St. Joost or the Fotoacademie Amsterdam. You’ll be surprised at what you find.

INTERVIEWER: What’s the single most important piece of advice for collectors?
Roy Kahmann: Follow your gut. Don’t buy what’s trendy or what others find beautiful. If a photo stirs something in you, and you keep coming back to it, that’s your photograph. Collecting should be about emotional connection.

INTERVIEWER: You started what’s now known as the Hungry Eye Gallery already in 2004. What was the original idea?
Roy Kahmann: Initially, I focused exclusively on Dutch vintage photography. But it quickly grew into a platform for both vintage and contemporary work, both national and international. Today, we represent more than thirty artists, and we’ve also launched the Hungry Eye LAB, which mentors young talent navigating the commercial side of the art world. That work is incredibly rewarding.

INTERVIEWER: Then came the Hungry Eye Fair. How did that evolve?
Roy Kahmann: I wanted to create a photography fair that felt more like a museum than a marketplace. No soulless rows of booths, but curated exhibitions with emotional and visual resonance. The Hungry Eye Fair now takes place annually in Rotterdam and Amsterdam and offers a very personal atmosphere. It’s not just about transactions, it’s about celebrating photography as an art form.

INTERVIEWER: You and your wife Lindy have amassed a collection of nearly 10,000 original prints. How does one build a collection like that?
Roy Kahmann: It was never the plan, it just grew over time, driven by passion. We had one rule: we both had to agree on a purchase. If only one of us loved the image, it didn’t come in. That’s how the collection remained something ours, a shared vision.

INTERVIEWER: What’s your next step in promoting Dutch photography?
Roy Kahmann: I think there’s something missing in the Dutch photography education system. There’s too much emphasis on technique and concept, and too little on cultural and historical context. I dream of founding a centre, a permanent Hungry Eye Fair, if you like, where people can view, learn, discover, and connect. Perhaps even an academy will grow out of it. It’s still just a dream, but one I intend to make real.

On Talent Development

INTERVIEWER: Let’s go deeper into your work with young talent. What does talent development mean to you personally?
Roy Kahmann: It’s absolutely at the heart of everything I do. Coaching, mentoring, creating platforms, those are essential to the future of photography. I see myself as a facilitator, helping young photographers navigate what is often a confusing and closed-off industry. And that support goes far beyond exhibitions: I offer guidance, open doors, and share hard-earned experience.

INTERVIEWER: What makes your approach to mentorship unique?
Roy Kahmann: My involvement is deeply personal. I don’t just offer wall space, I ask questions, challenge assumptions, build confidence. I help artists clarify where they’re going and how they can get there. Many young talents simply need someone who believes in their voice, especially when it hasn’t fully formed yet.

INTERVIEWER: How vital is visibility for these young artists?
Roy Kahmann: Absolutely critical. Visibility is currency in today’s art world. Through the gallery and our publications, we work hard to create those moments of exposure. We showcase young artists to collectors, curators and press. We help them with presentation, printing, framing, pricing, the full package. It's a comprehensive development track.

INTERVIEWER: You’ve also been a publisher for over two decades. What role do your books and magazines play in this ecosystem?
Roy Kahmann: A major one. With GUP Magazine, New Dutch Photography Talent, and Fresh Eyes, we’ve given hundreds of emerging photographers their first serious international platform. For many, it’s the first time their work is seen beyond their immediate network. And that visibility often leads to exhibitions, sales, editorial work, or even gallery representation.

INTERVIEWER: What’s the biggest challenge for young photographers today?
Roy Kahmann: The image landscape is oversaturated. Everyone is a photographer now, just look at Instagram. The real challenge is developing a personal visual language, a recognizable voice. That, and the difficulty of entering the art market. That’s why spaces like our gallery and our publications are so vital: they give young voices a place to grow and be noticed.

INTERVIEWER: You also lecture, lead workshops, and speak on panels. What do you gain from that?
Roy Kahmann: I love sharing knowledge. But honestly? I learn just as much from it. Every generation sees the world differently, and that keeps me sharp. It’s a two-way street, those interactions inspire me deeply.

INTERVIEWER: What’s your most meaningful memory in working with young artists?
Roy Kahmann: That’s a tough one. But there’s something magical about seeing someone break through whom you’ve supported from the very beginning. To see their work on a museum wall or at Paris Photo, and to think: I helped plant that seed. That’s why I do what I do.

INTERVIEWER: You seem to discover an exceptional new talent every year. How do you keep finding them?
Roy Kahmann: I get that question a lot. But honestly, experience is just doing the same thing a thousand times over. Think of it like a top athlete finally winning gold after years of training. You get out what you put in. I still spend countless hours scouring social media, graduation shows, magazines, you name it. But by now, I’m also fortunate to receive hundreds of portfolios each year. And somewhere in that stack, there’s always a rough diamond waiting to be found.

INTERVIEWER: You started your career in communication and design. What did that background give you?
Roy Kahmann: It taught me how to build a brand and how to emotionally connect with people. My time at Total Design, working with giants like Anthon Beeke and Wim Crouwel, was formative. And I still design all my books and magazines myself. That love of visual form has never left me.

INTERVIEWER: Finally, does life exist beyond photography for Roy Kahmann?
Roy Kahmann (laughs): You’d have to ask my wife. But truthfully, design still fuels me. If I couldn’t create books and magazines, I’d probably burn out. Even when I’m ‘off’, I’m creating. This work is my passion. And that’s the greatest privilege of all.