When Evan Chow made a pilgrimage to his first Art Basel Hong Kong in 2013, his heart became set on a floor-to-ceiling canvas featuring pinhead-sized daubs of paint. He had been scrutinizing the work closely at the booth of a London-based gallery, marveling at its optical illusion. From up close, the marks appeared as nothing more than densely clustered, random applications, but from a foot or two away, these marks merged to form faces, bodies and gestures of people. However, Chow was hesitant to pull out his checkbook due to the work’s astronomical price point.
“My friends suggested I speak to some curators or advisers,” said the financial guru, who couldn’t shake the piece from his mind. Chow was introduced to Robin Peckham— a curator and former editor of Beijing-based…
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ArtAsiaPacific (Digital) - 1 Issue, Mar/Apr 2017