"I see my art programs and my exhibitions as films," Jessica says of her work. "They are dramas where all the arts speak to each other simultaneously- architecture, painting, the decorative arts, cuisine, dance and music, all of them are taking place at once and the participants are the actors experiencing this total dynamic interchange.

When I take people travelling to foreign countries and unravel a story for them, I script the program as a film so I have to place my group in a setting where the arts can all speak at once, or one scene can be juxtaposed against the next so we move from fine and decorative art to a setting where music dance and costume come into play.

I do not view my travel programs as travel but as scenes where something new is discovered, something fresh is learned and my experts step in as lead actors as if they were the protagonists in the film, giving it impetus, building the drama until we reach a private collection that is staggering and at that moment we have a crescendo. Everything is carefully timed and thought out so that these journeys are journeys not only about collecting but juxtaposing oneself against another age. They are about setting one's own reality aside and trying to see through the eyes of another time and often I will dress people up to make them forget who they are, so they can alter their perspective.

This way objects and collectables can be appreciated through the eyes of the time for which they were made. We have to remember for example that for the 16th century man the world was a place that had no borders, there were no boundaries between lands, and the sea was a giant highway for trade. I think too often we judge objects through the eyes of our time and forget how fickle taste is.

We have to set aside taste and fashion and stare at the objects, judge it by the hand of it maker, the materials from which it is made, its rarity, and most of all, the skill of its craftsman."