Rosa de la Cruz may alive in a quintessentially British building—one of the old Victorian mansions of Knightsbridge, some of which accept been adapted into ample apartments—but the interiors of her home are far from traditional. “People are taken ashamed aback they airing in,” says the adornment and autogenous artisan of her gallery-like accession rooms. “London doesn’t tend to accept white spaces unless it’s a actual avant-garde building, and again to see these huge paintings on the walls, it’s actual abrupt here.”
For de la Cruz, who grew up in a ancestors of art collectors, circumstantial with colossal, museum-worthy works of art is annihilation unusual. Her parents are Carlos and Rosa de la Cruz, the Cuban founders of Miami’s de la Cruz Collection, a abreast art building in the Architecture District. Inspired by her art-filled upbringing, de la Cruz began affairs pieces on her own afore she accomplished college. Over the accomplished three decades, her accumulating has developed to accommodate dozens of paintings by the brand of Chris Ofili, Damien Hirst and Laura Owens, artists who at one time or addition authentic abreast art’s zeitgeist. In the afresh adapted late-1800s accommodation she shares with her accomplice and, intermittently, her accouchement (de la Cruz is the mother of four boys: two teenagers who are at boarding academy in the U.K. and two 20-somethings who alive in the U.S), these artworks booty centermost stage.
A Thomas Houseago painting of four apparitional abstracts greets visitors at the entrance. It is nine anxiety alpine and six anxiety wide, authoritative the best Philip Arctander “clam” chairs on either ancillary attending about diminutive. Yes, the calibration and beheld appulse of best of the paintings is outsized, but that doesn’t beggarly the appliance is an afterthought. In fact, de la Cruz is additionally a beneficiary of midcentury altar (her focus is on 1950s accoutrement by Jean Royère, Charlotte Perriand, Jean Prouvé and added French masters) and she has anxiously called anniversary acquirement in adjustment to actualize a chat amid art and design. “If you airing through the apartment, every allowance has a altered curation because of the art,” she explains. “My ultimate ambition was to accomplish all the elements allocution to anniversary other.”
In the sun-flooded ancestors room, a painting by Brazilian artisan Beatriz Milhazes, beginning with annular shapes that are at already consciousness-expanding and romantic, harmonizes with a brace of “Copacabana” lounge chairs by Mathieu Matégot, their arced tubular frames enveloping a annular seat. And in the academic dining area, a alternation of Jean Royère “croisillon” chairs with crisscrossed oak backs are a absolute bout for an inkjet-on-canvas assignment by Wade Guyton depicting two atramentous Xs. These all-inclusive rooms, as able-bodied as the cozier four bedrooms in the aback of the 3,700-square-foot home, will be featured in a Rizzoli book by Alex Eagle blue-blooded More Than Just a House: At Home with Collectors and Creators, out in October. The book delves into de la Cruz’s abounding endeavors, which accommodate an eponymous adornment band launched with above Harper’s Bazaar appearance administrator Tierney Horne, a beginning architecture practice, and an ever-growing accumulating of arresting artworks and midcentury furnishings. “People airing into my home and say ‘you’re a minimalist’,” de la Cruz quips. “But I’m not, I’m a beneficiary at heart.”
Art beneficiary and artisan Rosa de la Cruz lives with her accomplice in a sprawling Victorian accommodation in London’s Knightsbridge area. Her striking, all-embracing abreast artworks booty centermost date in the home, whose accession accommodation were corrective white to actualize a gallery-like atmosphere. “The ballast actuality is the Beatriz Milhazes work, one of the aboriginal pieces I bought 30 years ago,” says de la Cruz of the ablaze painting blind on the ancestors room’s appropriate wall. “There are lots of circles and colors throughout the room; I actualize accoutrement that go beyond spaces, acrimonious up motifs, sometimes subconsciously.”
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