Today we’d like to introduce you to Angelo Garrido.
Hi Angelo, we’d love for you to start by introducing yourself.
I’ve always been drawn to spaces, music, and objects that evoke a feeling, there’s something powerful about how atmosphere can shape an experience.
I started out with a deep curiosity for creative expression, particularly through music. DJing became a natural outlet, an exploration of rhythm, mood, and connection. Over time, that sensitivity to energy and composition expanded beyond music and into the physical world: design, objects, and environments.
Casa AnKan was born from that intersection. What began as a shared vision evolved into a space that brings together collectible design pieces from artists and makers around the world, each with a strong narrative, material presence, and sculptural quality. We weren’t interested in creating more “things,” but rather in curating pieces that hold meaning, that transform spaces, and that resonate on a deeper level.
Today, we’re building Casa AnKan as both a gallery and a point of connection, between disciplines, cultures, and people. It’s still evolving, but that’s part of what makes it exciting. We’re focused on growing thoughtfully, staying true to our eye, and creating experiences, whether through physical spaces, pop-ups, or collaborations, that feel intentional and memorable.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Not exactly, and I think that’s been essential to the process.
Building something like Casa AnKan, especially as a young gallery, comes with a constant balance between vision and reality. On one hand, you’re driven by a very clear point of view, what you want to show, the level of quality, the kind of artists and designers you believe in. On the other, you’re navigating logistics, budgets, timing, and the challenge of introducing something that isn’t always immediately understood.
One of the biggest challenges has been trust, earning it from both sides. From designers, who are placing their work in our hands, and from clients, who are often discovering collectible design for the first time. There’s also the operational side that people don’t always see: shipping complex pieces internationally, managing costs, and making sure everything arrives and installs exactly as it should.
At the same time, being early in this journey means constantly building, relationships, visibility, and opportunities. It takes patience and consistency.
Appreciate you sharing that. What else should we know about what you do?
I see myself as someone working at the intersection of music, design, and atmosphere. DJing is a big part of my practice, it’s where I explore rhythm, tension, and emotion in real time, but it’s also informed the way I approach everything else. There’s a sensitivity to flow, to composition, to how people experience a moment.
With Casa AnKan, that translates into curating pieces that feel intentional and deeply considered. We focus on collectible design, objects that sit somewhere between art and function. I’m particularly drawn to sculptural forms, rich materials like stone and metal, and works that carry a strong narrative or cultural influence.
What I’m most proud of is building something that feels authentic to us. Casa AnKan is still growing, but it already reflects a very clear point of view. We’ve been able to connect with designers from different parts of the world and bring their work into new contexts, which is incredibly rewarding.
I think what sets us apart is that we’re not approaching this purely as a gallery or purely as a commercial platform. There’s an emotional layer to everything we do. Whether it’s a space, a piece, or even a DJ set, it’s always about creating a feeling, something immersive, something memorable. That crossover between disciplines is really at the core of it.
Can you talk to us a bit about the role of luck?
I think luck plays a role, but not in the way people sometimes imagine. It’s less about chance and more about being open and prepared when certain moments present themselves.
We’ve definitely had moments of good timing, meeting the right designers, being introduced to the right people, or opportunities appearing when we were ready to take them on. But those moments only really matter if you’ve been doing the work behind the scenes.
At the same time, what might look like bad luck, projects not moving forward, pieces arriving damaged, conversations that don’t lead anywhere, has been just as important. Those situations force you to adapt quickly, refine your approach, and become more resilient. In a way, they’ve shaped the foundation of how we operate today.
So I don’t see luck as something you rely on, but as something you meet halfway. You stay consistent, you keep building, and over time, you start to recognize and make the most of the right moments when they come.
Contact Info:
- Website: https://www.casaankan.com
- Instagram: https://www.instagram.com/casaankan/
- LinkedIn: https://www.linkedin.com/company/casaankan/
- Youtube: https://www.youtube.com/channel/UC5pRyY79fVIESXuLFgWSnwg
- Other: https://www.tiktok.com/@casaankan
Image Credits
Emily Goswick on Portrait
Photos by Venjhamin Reyes
