Collector Spotlight: A Home Featuring Haus Prints
Art transforms a room. Not in the way new furniture does, rearranging function, but in the way it shifts how a space feels the moment you walk in. The light changes. The mood adjusts. The room tells you something about the person who lives there before a single word is spoken.
At Haus of Collectors, we believe the most compelling spaces are built around art that matters to the people who choose it. That belief is what led us to begin this series: real homes, real collections, real conversations about the role art plays in daily life. Our first Collector Spotlight features interior stylist and longtime art collector Camille Reyes, who invited us into her Brooklyn brownstone to talk about the pieces she lives with, the decisions behind them, and why she keeps coming back to Haus.
The Collector
Camille Reyes has spent the better part of two decades working as a residential interior stylist in New York City. Her work has appeared in Domino, Architectural Digest, and Elle Decor. But her own home, she will tell you, was the hardest project she has ever taken on.
"Designing for clients is one thing. You interpret their story. Designing for yourself means confronting your own taste honestly, without the safety net of a brief or a mood board you can revise for someone else. My home had to feel like mine, not like a portfolio."
Her brownstone sits on a tree-lined street in Clinton Hill. The ground floor is an open living and dining space with original moldings and wide-plank floors. The light is generous in the mornings and warm in the afternoons. It is the kind of space that invites you to stay, and the art on the walls is a significant part of why.
How the Collection Began
Camille's collection began with a single limited-edition print from one of Haus of Collectors' earliest releases. She was drawn to it not because it matched her interiors, but because it stopped her mid-scroll.
"I was looking through the collection online, and there was this piece that just held me. It was not what I was searching for. It was not what I had in mind for the living room. But I could not move past it. That is how the best collecting decisions happen. You do not plan them. You respond to them."
The piece, a limited edition work by one of the artists in the Haus of Collectors viewing room, now hangs in a slim black frame above her fireplace mantel. The colors are muted and warm, with a composition that draws you in without overwhelming the room. It is the first thing you notice when you walk in, and the last thing you think about when you leave. It stayed there for three weeks before she realized the rest of the room needed to be changed around it.
"That one print reorganized the entire space. I moved a lamp, swapped out two throw pillows, and suddenly the room had a center of gravity it never had before. That is what good art does. It does not decorate a room. It anchors it."
It is a sentiment that any experienced collector will recognize. The best purchases are rarely planned. They are reactions. You see something that resonates on a level you cannot fully articulate in the moment, and the decision to buy it is closer to instinct than analysis. The analytical part comes later, when you figure out where it goes and what else needs to shift to accommodate it.
Building the Gallery Wall
Over the following months, Camille added four more pieces from Haus, building a salon-style gallery wall in the hallway connecting her living room to the kitchen. The arrangement combines a large, open-edition botanical, two smaller, limited-edition abstracts, and a hand-embellished work she describes as the emotional centerpiece of the grouping. If you are looking to create a similar aesthetic, you might want to shop nature-inspired art prints collection to bring organic elements into your display.
"The hand-embellished print has something the others do not. You can feel the artist's presence. There is a texture you cannot see in a photograph. It catches light differently throughout the day. It is a print and an original at the same time, and that quality is what draws your eye every time you pass."
The frames are intentionally varied: two in matte black, one in warm oak, and two with no mat to let the paper edge show. Camille arranged the wall using the kraft paper method, spending a full afternoon taping shapes onto it before she was satisfied with the composition.
"I tell my clients all the time: live with the paper on the wall for at least a day before you pick up a hammer. Walk past it. See it from the doorway, from the sofa, from the kitchen. A gallery wall is not seen from one angle. It has to work from everywhere."
Choosing Art for Different Rooms
Camille's collection now extends into her home office, her bedroom, and a small reading nook tucked into the third floor of the brownstone. Each space required a different approach.
The Home Office.
"I needed something that felt focused without being sterile. I chose a pair of monochrome prints in a clean grid layout. They are calm, structured, and slightly meditative. On video calls, people constantly comment. Art in a workspace is not just for you. It communicates something about how you think."
The Bedroom.
"This is the most personal room in the house, and the art should reflect that. I hung a single large piece above the headboard, something soft and warm. No bold colors, no high-contrast compositions. Just a quiet presence that feels right when you wake up and right when you fall asleep." For bedrooms and other spaces designed for thought and reflection, it is often best to shop cultural and conceptual art prints that invite quiet contemplation without overpowering the room.
The Reading Nook.
"A tiny space with an enormous personality. I put a single small print on a picture ledge so I can swap it out whenever I feel like it. It is the one place in the house where the art rotates regularly, and that keeps it interesting."
What strikes you as you walk through Camille's home is the consistency of intention. No piece feels accidental. Every print earns its place, whether it is the large statement above the fireplace or the small work on a third-floor ledge. The collection is not large, but its impact is.
Why She Collects from Haus
Camille has collected art from galleries, art fairs, and online platforms for years. When asked what differentiates Haus of Collectors, her answer is immediate.
"Curation. Most online print shops are catalogs. They have volume but no point of view. Haus feels edited. Every piece in the collection belongs there, and the artists are genuinely interesting. You can feel the curatorial rigor. These are not stock images printed on demand. They are works by real, represented artists, and the quality when it arrives confirms that."
She also points to the unboxing experience. "I have ordered from a lot of places. Most of them ship prints in a tube and call it done. Haus packages everything as it matters, because it does. The print arrives flat, protected, and ready to frame. That is a detail that separates a print shop from a real art destination."
"The other thing I appreciate is the edition transparency. When I buy a limited-edition item, I know exactly how many are available. There is a number, a cap, and a clear explanation of what makes it distinct. That structure gives the purchase weight. You are not just buying a pretty image. You are acquiring something specific and finite, and that matters to anyone who takes collecting seriously."
Advice for New Collectors
We asked Camille what she would say to someone building a collection for the first time.
"Start with one piece that genuinely moves you. Not one that matches your decor, not one that is trending on social media, but one that makes you feel something when you look at it. Then give it the best frame you can afford, hang it where you will see it every day, and live with it for a while. Your second purchase will be better because of it. Your third will be better still. Collecting is a practice. It develops."
"And do not wait for a big budget. Open editions exist for exactly this reason. You can start building a real collection of museum-quality prints by represented artists without spending thousands. The point is to begin."
She pauses and looks at the gallery wall in the hallway. "Honestly, the best thing about collecting is that it sharpens your eye. You start noticing things you did not notice before. You pay attention to light, to color relationships, to the way a line moves across a surface. It changes how you see everything, not just art. It changes how you see rooms, streets, and even faces. That is the real return on the investment."
Explore the Collection
Camille's home is a reminder that a collection need not be large to be powerful. Five well-chosen prints, thoughtfully placed, create more impact than thirty pieces hung without intention.
To discover the artists and prints featured in this spotlight, visit the Haus of Collectors viewing room. To start building your own collection, explore the full catalog of open-edition, limited-edition, and hand-embellished prints. Your Haus, your collection.
FAQs
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Professionals select art based on the room's emotional utility. Restful spaces like bedrooms benefit from low-contrast, atmospheric works. High-focus areas like home offices pair well with structured, geometric, or minimalist pieces, while living rooms are ideal for dynamic gallery walls or bold focal points.
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Counterintuitively, a single, oversized art print can expand a small space. By establishing a clear, dominant focal point, large art prevents the walls from feeling cluttered. It draws the eye upward and outward, giving the room a deliberate sense of architectural structure.
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The most strategic way to begin is to explore open-edition prints from reputable studios. These pieces offer the same museum-grade archival quality and artist-authorized provenance as limited runs, but at a highly accessible price point, allowing you to invest in aesthetics without the premium of artificial scarcity.
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Yes. Because the artist physically paints or adds mixed media over the printed canvas or paper, no two hand-embellished works are identical. They possess actual surface texture, unique brushstrokes, and a dimensional quality that interacts dynamically with the lighting in your room.
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Hallways are perfect for salon-style gallery walls. Because hallways are transitional spaces viewed in passing, a staggered, multi-sized arrangement of frames encourages the eye to travel, transforming a simple corridor into a visually engaging, curated experience.
