In Conversation with Martin Kesselman

Written on 2nd July 2020

It’s rare to find people as obsessed with the complexities of colour as we are, but Martin Kesselman, the subject of today’s In Conversation With, is certainly one of them.

We caught up with Martin to talk artistic influences, recent projects, and “trusting the Martin”.

Tell us a little about yourself and about your New York showroom

I’m Martin Kesselman, New York City-based interior designer and owner of a paint shop and colour showroom in TriBeCa called INCOLOUR. I specialise, as the name of the boutique implies, in colour – as a colour consultant, colour theorist, colour creator, stylist, tastemaker and trend forecaster – and INCOLOUR complements this perfectly.

I think of myself as an “outside” interior designer – not outside as in exteriors, but more “out of the box”. I either work independently or on a team collaborator with other designers, architects and members of the trade. For me, there’s no job too large or too small, and I work on a wide range of projects from luxe residential to office décor, hospitality design, art galleries and cultural institutions.

What does your typical day look like?

A big part of my day-to-day is assisting homeowners and apartment dwellers, curating palettes for their new or soon to be renovated spaces. Ultimately, the experience is flexible to meet the needs of the client. I think it’s unique, too – consulting with a design professional and getting immediate expert advice. Clients will also make the trip into INCOLOUR to just to pick up product. I have always done a fair share of work remotely, often groundwork video chats & tours, getting to know a space before I have the opportunity to visit. I’m certainly doing more of that these days, looking forward to getting back into the homes, connecting with the spaces, clients, reading the energy of the room, while being in them.

While my day could feature a couple of hours’ colour consultation at a client’s home or a large-scale project that has an entire design phase, the thing they have in common is that it’s always an educational experience in what I feel is a really important design element.

You started your career in the art world, how has this influenced your career? Does it still influence you now?

It certainly still does. I am very involved in the art community – beyond visiting and working with local galleries, I have traveled to many art and design fairs internationally over the years, not only to participate in the activations, but also as a spectator for inspiration and keeping up with trends.

Many designers are motivated by nature, as am I, but fine art is what really moves me. If I have a client with an outstanding art collection, something to pull gems from, it certainly sets fire to my imagination, which reflects in my work.

Full circle, I recently joined spaces with Anton Kern Gallery – INCOLOUR is hosting Kern’s new 24/7 exhibition, WINDOW, in its storefront windows. I wanted to add creativity beyond a well-dressed paint shop and something that changes (the art in the windows will change every 4–5 weeks), so my idea was to bring others in to collaborate, add value, and give another reason to visit. My hope for WINDOW, whether it’s in passing or a planned trip, is for it to have the same spirit as other decorated exhibitions, through a looking glass of the exterior of INCOLOUR.

Photo of gallery space by Anton Kern Gallery. 


I came to the idea for my colour Martin Kesselman White, because of my experience in the mid-2000s in West Chelsea. At the time I was doing custom colour work for gallery installations and exhibitions but also beginning to shift my headspace to interiors. I got to know many art collectors who were trying to recreate the white box gallery experience in their apartments with their personal collection on display.

My quest was to provide a solution to those looking for good neutrals. I wanted to create an architectural white that created a versatile backdrop for art and a balanced energy for the home, one that wasn’t stark, sterile, commercial or institutional, and I think the colour reflects that.

I’m really pleased with the product and its association with my history, and it has opened doors to do big colour work, which I am beyond excited about. It has been fantastically well received and was featured in The New Yorker, Artsy, New York Magazine and Departures to name a few.

Sitting room by Jessica Gersten Interiors and Photo by Costas Picadas


I recently worked on a project for renowned jazz trumpeter and composer Chris Botti on his apartment in Hudson Yard, at the end of the Highline. The apartment is in the tallest building in the Yard, which was designed by prominent architectural firms Diller, Scofidio + Renfro and The Rockwell Group and stands 88 floors high.

The space – and it truly does feel as if you’re in space, perched above all – has floor-to-ceiling windows with panoramic views of the Hudson River, and the goal of the project was to stay true to the view while creating moody blues moments for Chris.

Another project that I’m over the moon about is with Co Adaptive Architecture and their principal,  Ruth Mandl. The project is a double A-frame building, approximately 17,000 square feet, which was originally constructed as a metal foundry in the Gowanus area of Brooklyn around the turn of the century and is now being renovated for new innovative studio use. ​Mercury Store will be a lab space for stage directors, choreographers, and devisers. ​All its paintable areas will be in Martin  Kesselman White.


Do you have tips for people who might be nervous about using colour? 

As I told Chris Botti at the end of our first phone call, and as he now repeats back to me: “trust the Martin”! There’s a lot of anxiety around making colour choices and design decisions, and there’s certainly a responsibility as an influencer, someone people trust for solid advice.

My personal approach is trying to be in tune with the space and getting a good read of the room, not just the architecture and design but the people who are going to live in it. Just like in relationships, communication, expectations and trust apply to design.

My advice is to connect to your space – it’s an extension of you – and create a simple design plan and list. Write down goals, atmospheres and moments you want to create, and think about how you’re going to use your home, room by room. Don’t get too caught up in the size of the space, lighting exposure or other general design “rules”. For me, it’s more about setting moods and tones.

Note down what excites you, and what you’re afraid of. Start slow but embrace a little push from your decorator – if you’re not working with a designer, bounce some ideas off a family member or friend, or maybe someone who has a little more experience. Take closer looks at spaces that aren’t your own. Look online and start collecting images, things you’re attracted to, and also start recognising what you don’t like.

I think the biggest fear is around not knowing what to expect when the work and painting is done. It’s fear of the unknown. Like anything else, the more you familiarise yourself with an idea or experience, the more comfortable you will be. Remind yourself at the end of the day, and at the end of the project: it’s just paint!

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