Florence Woodfield Morais is a curator and consultant with over 12 years professional experience in the art world. Having begun in the contemporary art market as a curator and art writer both in London and Rio de Janeiro, she began working for Christie’s London in 2013. Having spent 6 years working with Impressionist and Modern Art, both at Christie’s and later at Stern Pissarro Gallery in St James’, London, she returned to contemporary art in 2021 when she was appointed Curator (and subsequently Associate Director) of the Estate of British-Burmese artist Barry Kamen (1963-2015). In 2025 she spent a formative period as acting Executive Director of Kupfer, London.
Through her work on establishing the estates of artists Shelagh Wakely and Barry Kamen, as well as her work in authenticating and researching works with artists' estates at Christie’s and Stern Pissarro Gallery, she has gained specialist expertise in the running and management of artists' estates and can provide consultancy in this area. The area of artists' Estate management, an important but often hidden and opaque part of the art world ecosystem, represents a new area of art historical scholarship and has an increased importance in the art world, as gallerists and institutions seek to reveal stories and practises that have been historically overlooked by the traditional art 'canon'.
In 2014, she had a 'lightbulb moment' when seeing the seminal exhibition of Latin American abstract art at the Royal Academy, London, entitled 'The Geometry of Hope'. In 2015, she completed her MA in Art History with a focus on Brazilian modernism and its development and evolution. Since then, she has a strong personal interest into abstraction in Latin American art. After over a decade of spending formative periods in the North-east regions of Brazil, in 2026 she founded Constelar. Constelar is a research capsule with the aim to research, promote and champion art history and current art production in the North and North-East regions of Brazil, regions with increasing geopolitical importance and potential, but which have been chronically and systematically underestimated and underresearched within Brazil itself, and internationally.
She has an MA in Art History (Distinction) from Birkbeck, is a member of AWITA London, and has had various articles on art published since 2012.