I have always loved the arts, particularly visual arts, and vividly remember my first family trip to Italy with my parents at the age of nine. I was transfixed by the sheer beauty of Michelangelo’s Pietà and the Sistine Chapel ceiling—moments that remain crystal clear in my memory. At the same time, I found great joy in studying art throughout primary and high school, experimenting with painting and photography. Some of my early artworks still hang in my home with pride, alongside my growing art collection, which I began building piece by piece from a young age.

For a long time, I dreamt of opening a contemporary art gallery. But in my mind, it was always something for later—something I would do after my corporate career, after everything else had fallen into place. I thought life had to be sequential. Then, in a moment of clarity (and with a little push from a corporate coach), I realized: why wait? Why not do both? That was the turning point. My dream didn’t have to be a distant ambition—it could be a reality, unfolding right alongside everything else.

In the beginning, taking the plunge and establishing a gallery without prior industry experience felt daunting. But in those early days, and throughout the past 19 years, my greatest supporter has been my dear friend and one of our artists, Noula Diamantopoulos. She encouraged me to go for it, to push forward, and to trust in my vision. For that, I owe her immense gratitude.

The foundation for Artereal Gallery was laid in 2000 when I set my sights on a particular building in Rozelle. I knew this was the one. It was perfect— it was an old Fire Station situated in Sydney’s Inner West, where I had grown up and lived, and close to Sydney College of the Arts, which at the time was just down the road. But there was one problem: it wasn’t for sale. Real estate agents kept offering alternatives, but I remained firm. I wanted this building. Eventually, a call came—the owner was willing to sell. When I first stepped inside, climbing a ladder to peek through the ceiling, I discovered something incredible: the original metal beams of the old fire station, hidden for decades. It felt like fate. This building had been manifested. And with it, the gallery could finally take shape.

From there, everything began to fall into place. A group of friends helped me brainstorm the name—I was certain I didn’t want it to be called “Luisa Catanzaro Gallery.” It needed to reflect something bigger than just me. When someone suggested “Artereal,” it immediately resonated. Originally, we considered “Arterial,” but when that was already trademarked, our branding team reimagined it. The new spelling felt right. It echoed my Italian heritage, referencing “Arte,” while also carrying a sense of the ethereal. It spoke to crossroads—fitting, as we were literally positioned at one in Rozelle. And of course, it evoked the idea of arteries—pulsing, vital, alive, just like the contemporary art we wanted to champion.

“Looking back, I realize that in some ways, running a billion-dollar company was easier than running a gallery. But I wouldn’t trade this journey for anything.”

– Luisa Catanzaro

We launched with exhibitions by internationally renowned digital artists Aziz + Cucher and New York-based Australian photographer Simone Douglas. But the real challenge was assembling a team and finding a curator. Enter Barbara Dowse. She agreed to join us for three months to help get things off the ground. Nineteen years later, she’s still here. Slowly, piece by piece, the Artereal family came together.

I always say that on my first sabbatical from the corporate world, I bought the building. On the second, I found the team. And on the third, I immersed myself fully in the gallery.

Artereal started with a focus on photography and international artists, but with Barbara’s arrival, the vision expanded. She introduced us to an incredible roster of artists, and our identity evolved organically. From the outset, I wanted Artereal to be different. With a background in corporate strategy, I saw an opportunity to rethink how a gallery could operate—agile, adaptable, and unafraid of change. We entered an industry that had remained largely traditional, and we carved out our own path. We made unconventional choices—our location, our curatorial approach, even the way we structured our team. We embraced colour when most galleries favored white walls. We installed movable walls, transforming the space to suit each exhibition. We did things differently because it worked for us.

We had a vision, but no rigid rules. Artereal was always about evolution—about staying open, staying bold, and staying true to the art itself. Looking back, I realize that in some ways, running a billion-dollar company was easier than running a gallery. But I wouldn’t trade this journey for anything.

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After 19 years, Artereal Gallery closed in March 2025. This article is part of the gallery’s ‘On Reflection’ series of essays.