During my time in Singapore’s Art District, I had the pleasure of meeting fine art professional Kim Randall. We talked about Eastern aesthetics, the evolution of contemporary art, and the role of galleries across Asia.
Maria: Hello, Kim! I’d love to speak with you more personally about your work and hear your thoughts on contemporary fine art.
M: What first inspired you to become involved in contemporary art? And why this particular direction?
Kim: I’ve always had an eye for aesthetics. To me, contemporary art means beauty combined with intellect. Art is the product of our quest for both beauty and knowledge. I was drawn into the world of contemporary art after completing a degree in Interior Architecture in London, thanks to a close friend who was an artist. She introduced me to my first job managing David Gill Galleries. Through David and his partner Francis Sultana, my world opened up — starting with contemporary decorative art and eventually leading me to fine art.
Moving to London in the mid-90s was also a serendipitous turning point. The art scene there was coming alive, especially with the rise of the Young British Artists (YBAs). Their work pushed boundaries and sparked important — sometimes controversial — conversations. That’s what intrigued me the most.
M: When we speak about “Asian Art” as a single entity, are we oversimplifying? Should we look at each country individually?
Kim: Absolutely. Asia is vast and incredibly diverse — both in culture and artistic language. You can’t generalize. Each country has its own traditions, techniques, and conceptual approaches. Art from Asia should be viewed within its specific context and merit.
M: Do you have a favorite Eastern art school or movement?
Kim: Not a single one I’d name specifically. Instead, I encourage artists to participate in residency programs that push them out of their comfort zones. These spaces foster cross-cultural dialogue. Singapore, for example, offers excellent programs with government support for both emerging and established artists.
M: I noticed that many Asian galleries aren’t particularly focused on the U.S. or Canadian market. Is that a gallery decision, or does it depend on the artist?
Kim: It’s both. If an artist is well-known or backed by a reputable gallery, it helps. But there are challenges — costs, logistics, time, networking. Breaking into Western markets takes real dedication.
Blue-chip Asian artists are often represented by North American galleries. But introducing emerging Asian artists carries more risk, especially internationally. Even within Asia, introducing new talent is already complex — moving them overseas adds another layer of difficulty.
M: Many works I’ve seen explore the nude body — male and female — as a philosophical concept. From afar, Asia seems more conservative. Is that a misperception?
Kim: Asian cultures absolutely value the human form, and yes, some artists specialize in this subject. However, on the whole, family values, religion, and politics remain influential in Asian societies. That said, it’s fascinating how the feminine and masculine energies are often expressed subtly and symbolically rather than overtly. Things are changing — slowly — as new ideologies and global narratives emerge. But the best Asian artists already express strong individuality, even within conservative cultural frameworks.
M: With the rise of digital platforms, what should contemporary galleries focus on to keep people interested in art online?
Kim: First, upload high-quality work. A lot of art is online now, but not all of it reflects the best of the field. I personally use gallery websites to get a sense of their style, but I rarely buy without having seen the artwork in person — unless I already know the artist well. For collectors, provenance, reputation, and emotional impact matter.
For online platforms, I’d recommend studying your audience: know their budgets, expectations, and preferences. Price art appropriately, and make sure it’s visually presented in the best possible way. The future of online art depends on tech that can convey the emotional depth of real-life viewing. Someone, I’m sure, will find a solution to that soon.
M: Should people still go to art fairs to discover new work, or is it better to look online?
Kim: Nothing replaces being there in person. In Southeast Asia, I love Art Basel — it’s like walking through a contemporary art museum. Art Central in Hong Kong also brings in an exciting cross-section of galleries from around the world.
Art Jakarta and Art Stage Jakarta do a great job showcasing the best of Indonesian contemporary art — from emerging to established names. The Manila Art Fair is also excellent for discovering top-tier Filipino contemporary artists.
M: What’s the most valuable lesson you’ve learned from working in the art world?
Kim: That you need both sides of your brain! Creativity and organization. It’s an emotional business, full of personalities and egos, but also authenticity. It taught me patience. And I love it because it keeps me real — creative thinking is everything. Without it, the world would be unbearably dull.
M: And finally — your advice to contemporary artists?
Kim: Keep creating insightful work that reflects our times. Stay curious. Experiment with new techniques and media — digital art, photography, video, whatever feels true. Keep evolving. That’s the artist’s real journey.
MARIA MIR 