Vicky Chen at TAO ART with Lemon Project by HE Xiangyu and a work by CHOU Yu-cheng
PHILLIPS : You became an art collector from being an art lover. What triggered this shift?
Vicky Chen: Greatly influenced by my father, I was encouraged to check out different art fairs and participate in more art-related activities all over the world since I was a kid. Museums and galleries are usually included in my itinerary when I travel, in order to cultivate my aesthetics and acquire my knowledge about art. I didn’t start my own collection until after spending some time with the art community and learning more about art.
Promise by Tromarama, 2015.
P : What was the first work in your collection?
VC: The very first work I collect is Promise by an art collective from Indonesia named Tromarama. Made in 2015, Promise is part of the group’s 3D lenticular print series. Back then I happened to be renovating a new residential space full of the ancient cultural relics and antique furniture collected by my father. Tagging along the idea of different elements in the space, I picked a lenticular print, which is a medium that my father was unfamiliar with. This renovation project, in fact, makes itself as an inspiration behind TAO ART's concept of combining ancient, modern, and contemporary elements all in one space.
TAO ART is designed by Japanese architect Jun Aoki with the inspirations from Chinese gardens.
P : Your father collects cultural relics and modern art mostly, while your focus is contemporary art. How do you two affect each other on the journey of collecting?
VC: I have always been interested in anything aesthetically pleasing since a young age, ranging from paintings and jewelry to design and art. My parents constantly encouraged me to try anything I am curious about. Like most young people, I didn't have the opportunity to learn about ancient art in depth, though I clearly understood its importance.
As my interest in contemporary art grew, I very much hoped that my father could fully support my passion. The quickest way to study his mind was to put myself into his shoes. Consequently I started to visit more antique exhibitions and auction previews with him to familiarize myself with a broader range of knowledge. Contemporary art has long been regarded as something distant amongst older generations.
Upon building our common topics and interests, my father seems to understand contemporary art gradually because of my persistent sharing. I remain proud and grateful that my father and myself inspire each other, learn from each other, and grow together during this art collecting journey.
TAO ART Meeting Room presents a refined fusion of east meeting west and past meeting now.
P: Could you share an artwork displayed at home?
VC: I would like to introduce a piece from my father's collection – a grey stone Buddhist stele from the Sui Dynasty, dated sixth year of the Kaihuang period. Due to the popularity of Buddhism in ancient China, a large amount of precious Buddhist figures were carved and these works are believed to be funded by Buddhism followers. Not only does it include a Buddha figure, but this particular stele also consists of inscriptions at the time, which makes this piece an exceptional treasure.
According to its inscriptions, this stele was completed more than 1,400 years ago, in the sixth year of Kaihuang period in the Sui Dynasty, corresponding to AD 586. Funded by a noble leader named Pan, the work is engraved with two dragons, Buddha, monks, as well as the names of its donors, demonstrating the extensive size of the Pan’s family and the robust growth of Buddhist art at the time. This is a star from my father’s collection.
A grey stone Buddhist stele from the Sui Dynasty, dated sixth year of the Kaihuang period, from Mr. Chen’s collection.
P: You once mentioned that “discovering a way to live with art” is the core value of TAO ART and your original intention of art collecting. What is that certain "way" for you?
VC: I see multiple facets in art. It can be serious or relaxing. It can be virtual or real. It is neither right nor wrong nor good or bad. Sometimes an art piece does not tell the full story visually, but it generates an intimate feeling with the surrounding atmosphere. I wanted to share this idea with the community, hoping that everyone could think out of the box and experience the beauty of art in diverse settings. Therefore, there is no fixed framework for the exhibition roster at TAO ART. We will continue to curate artworks through distinctive approaches and keep it fun.
THE ROSE OF TIME by JENG Jundian, current exhibition at TAO ART 。
P: From the opening exhibition titled "Queering Umwelt" to a recent group exhibition named "Stillness", TAO ART explores the identity issues of gender and devotes its roster to women artists. Can you share the concept behind?
VC: Both Queering Umwelt and Stillness are important exhibitions that discuss identity and gender. Curated by Mr. HUANG Chien-Hung, Director of Kuandu Museum of Fine Arts, Queering Umwelt stimulates discussions amongst the public, and I am a huge fan of this particular exhibition.
Queering Umwelt, opening exhibition of TAO ART.
Stillness explores the rise of women artists, which is also a significant matter recently. Bringing together a new wave of young Taiwanese female artists with different backgrounds and multiple disciplines, this exhibition allows them to discuss creating through a professional platform. A very meaningful project indeed.
The curator and participating artists of Stillness, together with Vicky Chen
P: How do you approach building your own collection? Before collecting a work, what research do you do? How do you make a decision?
VC: I am not an impulsive buyer. When I find an artwork that gauges my interest, I usually check out the artists’ backgrounds and their past work. Thanks to the Internet, almost all the information, including artist portfolios and the galleries which represent them, are readily available online. From there I start to pay more attention to their works and share these works with my friends. I will most likely make a purchase when I see myself in the same level of enthusiasm for the works again.
Vicky and a work by WANG Jiajia.
P: You are quite active on social media. Would you explore new artists or artworks there?
VC: Absolutely. I follow my favorite institutions, art spaces, and galleries on social media. Especially in the past two years, we have not been able to go abroad to see art in person. Social media is the possibly fastest and simplest way to expand our knowledge.I tend to store the pictures of my preferred artists and works in my album so I can have an easy access to them anytime. I have also met several international consultants through social media and we share lots of industry insights and rare artworks with each other.
FOMO: Fear of Missing Out by WANG Jiajia, Beijing-based artist
P: How did you first come across Phillips? How would you prepare before participating in an auction?
VC: My first encounter with Phillips took place during the Frieze week in London. Deeply impressed by the auction preview of Phillips in the UK, I was happy to see their unparalleled expertise in Western contemporary art. I also know more contemporary artists through Phillips and they always offer a wide variety of unique works. Due to the demographical differences, there are certain distinctions in the selection of works in each region, which is truly fascinating.
I usually check the artists’ records before the auction. The sold works from the same series and those with a similar size or time period are some solid references. It is also important to set a budget in mind. I'm pretty casual towards bidding. Whether my bid wins or not is really not a big deal because I just like too many works.
