Kate Cary Evans is Founder and Executive Editor of Art Radar, an online art newspaper which has been covering Asian contemporary art since 2008. Kate studied art appraisal techniques with the Appraisers Association of America in conjunction with New York University, contemporary Asian art at Sotheby’s Institute in London, and curatorship at Hong Kong Art School in association with the Guggenheim. She helped organise the Hong Kong editions of Asia Art Forum, an event which has brought together curators, scholars and collectors from around the region, and has run courses on Chinese contemporary art and collecting for Asia Society among others.
Macau CLOSER: When did you first begin taking an interest in art and what motivated or inspired you to do so?
Kate Cary Evans: I grew up in Wales, but I first became interested in art in my early twenties when I moved to London to train as an accountant. To my surprise I found myself spending every weekend in the museums and galleries there. I couldn’t get enough of it. My favourite place to visit was the Serpentine Gallery.
When it comes to collecting art, what are the main criteria when choosing the pieces? Particular artists or particular styles?
I usually buy contemporary art from Asia. I have lived in Asia for over 23 years and since 2008 I have been running an online journal called Art Radar which publishes 8 or more articles a week on contemporary Asian art. Hence most of my knowledge is focused on art in this region. I don’t have any other particular criteria except that I try to support artists who are lesser known. I have pieces from artists based in many countries across Asia. I do have a soft spot for Hong Kong art – so much of it is humorous, subtle and intelligent. I rent out my Hong Kong flat on Airbnb to fund my trips around Asia and I try to fill my flat with Hong Kong art so that visitors from around the world can enjoy it and local artists can get exposure. My guests love the art and one of them – a Swedish architect – purchased a piece by a young artist called Wong Kai Kin.
When it comes to adding to your collection, do you feel that the artistic value of a piece is more important than the financial value?
Of course. As a chartered accountant I am very aware of what makes a good investment and art is a high risk asset. Liquidity is low – there is no secondary market for most works of art. Prices in the art market are highly volatile and subject to unpredictable trends.I prefer to invest in easier asset classes. I buy art for my enjoyment but my main motivation is to support artists and the art ecosystem. Art is a cultural rather than an investment asset in my view.
Can you tell us anything about any particular works currently on the market that are a highlight for you?
I love the work of Frog King. For many years he gave away his work and did not have gallery representation to support a market in for his work. This made it difficult for collectors to support his work. That has changed in the last couple of years and he is now represented by 10 Chancery Lane. I purchased a piece called White Splash last year. Recently my flat was used as the set for the film version of the TVB series called Line Walker and White Splash features prominently. I don’t think the film is out yet but I laughed when I came home because White Splash was placed on its side. I don’t know if they put it the wrong way up in the film too.
Do you know of any Macau art in the Hong Kong market? Do you have any favourite local artists?
I bought a piece by Konstantin Bessmertny called Two Sisters in 1998. It was so early in his career that the piece was included in a group show. Now of course he only has solo shows and has done so for many years. I loved the work so much and never tire of it, so I purchased another piece by Bessmertny in 2013.
In terms of purchasing new art, do you focus more on buying from galleries or auction houses? Do you mostly purchase the art pieces in Hong Kong or is it important for you to look further afield?
I buy in art galleries when possible. I feel that art galleries get a bad rap and also deserve support. They play an important role in the art ecosystem as front line curators. Running a gallery is a challenging and financially risky business. Gallerists take big risks investing in and developing the careers of unknown artists and I am particularly glad to support galleries which present non-commercial work as wells as commercial pieces.
