Features
MARCH 2025
Monica Hsiao and Henry Chu on Art, Emotion, and the Personal Narrative
By Cyrus Lamprecht
In Hong Kong’s vibrant art scene, collectors Monica Hsiao and Henry Chu offer compelling perspectives on the motivations and philosophies that drive their acquisitions. More than mere accumulation, their collecting journeys represent profound explorations of personal identity, emotional resonance, and the narratives embedded within art itself.
Monica Hsiao: Weaving a Tapestry of Life Through Art
For Monica Hsiao, founder and CIO of Triada Capital, the story of collecting blossomed from humble origins, which at first grew from her and her husband’s interest in antique curios, porcelain, and prints. “Our initial collection consisted mainly of Chinese ink paintings and Japanese woodblock prints,” she recalls. The couple’s collecting trajectory has been intricately woven with personal growth; in the early stages, they focused their education on the works of Renaissance painters and the Old Masters. However, as time passed, their interests expanded to embrace the vivid realms of modern and abstract art.
Hsiao also emphasises the importance of familial influence in shaping her passion for the arts. “The arts and humanities have been deeply cherished on both sides of our family,” she shares, highlighting a lineage that includes musicians, painters, writers, and photographers. This legacy inspired her to instill a love for art in her own children. Prioritising access to cultural institutions, Hsiao and her husband strategically chose homes in New York and London within walking distance of major museums. This immersive environment nurtured her daughters’ artistic inclinations, with both continuing to sketch and paint as they pursue their respective careers in medicine and technology.
In her dual role as a hedge fund manager and art collector, Hsiao passionately expresses that the intrinsic value of art transcends the rigid confines of market analytics. “For us, the collection of art is not only for investment or a storehouse of asset value, but first and foremost, for the enrichment of life,” she states, highlighting a belief in the emotional resonance and intellectual stimulation that art provides—elements that cannot be quantified in mere numbers. Nonetheless, she recognises the practical necessity of understanding market trends, especially when contemplating significant acquisitions, and she is fascinated by the interplay of the social, aesthetic and economic factors that shape how art is valued and traded.
Throughout her collecting journey, Hsiao underscores the importance of engaging with the narratives that breathe life into each artwork. She describes a small piece by Swedish artist Andreas Eriksson by her bedside: “It is an abstract that evokes the sound of clear mountain water traversing over pebbles, and it is the most calming image to start the day with.” Having travelled to Seoul to meet Eriksson at his first solo exhibition in Asia, and having collected since then a number of his works, her commitment to understanding the backstory of each artist cultivates a deeper appreciation for the artist’s vision behind his or her body of works, which is a critical pillar of her collecting philosophy.
Hsiao particularly values artworks that provoke introspection and offer insights into the human condition. “I admire artists who have something to say,” she asserts. Travelling offers collectors opportunities to support local artists. On a trip to Vietnam, Monica and her husband spent hours at the atelier of Vu Duc Trung, learning about the painstaking process of layering to create a series of ethereal lacquered discs, works that were previously exhibited at the Hanoi Museum. “Meeting artists adds a new dimension to the engagement we have as a viewer. Understanding their emotional inspiration and technique enhances our attachment to the work.”
Sometimes, buying art may be a nostalgic response, such as when Hsiao saw the Hong Kong collection by Matthew Brandt. “Hearing about Matthew’s philosophy behind the merging of his photography and glasswork, and how he embedded sediment from our city to press into the image of old Hong Kong commercial buildings, definitely was a big factor in moving us to buy his work ”, she notes. Hsiao’s collection also features one of the earliest pieces she bought from a Hong Kong gallery, Takesada Matsutani’s “Slow-Slow” (2020). Her appreciation for Matsutani’s multi-dimensional work was deepened by an encounter with his exhibition in Europe and studies of Gutai contemporaries like Kazuo Shiraga and Sadamasa Motonaga. The artwork’s “elegant simplicity” captivated her, reflecting an emotional connection that often takes precedence over market trends.
Hsiao’s curatorial approach focuses on creating a harmonious dialogue between artworks and their environment. She meticulously considers architectural elements like lighting, color palettes, and spatial dynamics. “For example, we made a conscious decision to position a bold, red piece by Alexandria Smith across from a blue, soft, cool-toned work by Salvo,” she explains. “Smith’s sculptural piece adds depth, while Salvo’s nocturnal moonlight softens the space. The two works, while created in very different contexts by artists of different eras and backgrounds, were connected by their similarly surrealist theme.”
Hsiao encourages aspiring collectors to embrace the journey of discovery and cultivate relationships within the art community. “Stepping into the world of art collecting is like opening a door to endless possibilities—each piece represents a story waiting to be discovered,” she advises. Ultimately, she advocates for building a collection that reflects personal values and experiences. “Let your heart guide you to what resonates,” she urges, emphasizing that a collection’s true essence lies in its connection to the collector’s identity and unique journey.
Henry Chu: Finding Resonances in a Digital Age
Henry Chu, a Hong Kong-based digital artist, offers a complementary perspective on collecting, shaped by his own creative practice and his engagement with contemporary art. Chu’s entry into the art world was serendipitous. A web designer turned artist, his transition began in 2000. “My first artwork, TV Clock, was created in 2005,” he recalls. However, it wasn’t until 2015 that he began collecting, a pivotal moment that redefined his relationship with art. “When you buy art, you are also purchasing a fraction of the artist’s life,” he observes.
Chu emphasizes the importance of research and engagement for those new to collecting. “It’s essential to do your research: talk to the artist, engage with the curator, connect with the gallery, and converse with collectors. Stay open-minded, be informed, and always follow your heart.” Such practices, he believes, enable collectors to identify art that resonates on a personal level, fostering an authentic connection with each piece.
Reflecting on his experiences as both an artist and a collector, Chu draws a distinction between art buyers and true collectors. Initially, he was drawn to prints by established artists, motivated primarily by aesthetics. However, as his collection grew, he realized that true fulfillment came from acquiring unique works that reflected his own identity and memories. “Art buyers make decisions based on value, whereas collectors seek resonance within the art they acquire,” he explains.
Chu vividly recalls his first purchase: a watercolor painting by Wong Chun Hei depicting a Hong Kong reservoir. “His work serves as a reminder that Hong Kong is indeed a beautiful city with stunning landscapes. I encountered the piece at a small exhibition hosted by a bookshop in PMQ,” he fondly remembers. This experience underscored the importance of seeking art that evokes feelings and memories.
While Chu’s artistic practice centers on digital art, his collection encompasses a range of mediums, including paintings and sculptures. His recent acquisition of a pair of robotic arms by Tung Wing Hong reflects his attraction to works that elicit strong emotional responses. “Collecting is a lifelong journey, and I may explore new themes as I progress through different stages of my life,” he notes, highlighting the dynamic interplay between personal growth and artistic exploration.
For those keen to initiate their collecting journey, Chu offers practical advice, emphasising that missteps are an inevitable part of the process. “Everyone makes mistakes, but there is no such thing as a wrong collection,” he reassures. “Living with your art allows you to discover deeper connections with both the artwork and the artist.”
In the current art landscape, characterised by rapid evolution—particularly through the emergence of artificial intelligence and digital media—Chu cautions collectors to prioritise authenticity. He poses a critical question: “If it can be produced effortlessly, does it lose its significance?” In contrast, he advocates for a balanced engagement, urging collectors to immerse themselves in the physical world and authentic artistic expressions. “Perhaps we should reduce our screen time and spend more time in the real world—meeting people and experiencing authentic art.”
Chu’s emphasis on emotional resonance, personal connection, and the significance of research provides valuable guidance for those embarking on a collecting journey, reinforcing the idea that the essence of collecting transcends aesthetics—it lies in the experiences and relationships we cultivate along the way.
Monica Hsiao and Henry Chu’s distinct collecting journeys converge on a shared belief in art’s power to enrich lives, foster connections, and reflect the human experience. Each artwork they acquire tells a story, inviting dialogue and encouraging new collectors to trust their instincts. Their patronage not only supports artists but also contributes to the cultural vitality of Hong Kong and beyond.
About The Author
Cyrus Lamprecht attended Central Saint Martins College of Art and Design, where he earned a Master of Research (Art) degree in Theory and Philosophy. He has showcased mixed-media artworks that include installations and performances in London, Hong Kong, and Taiwan. Lamprecht focuses on themes of existence and solitude in his artistic endeavours.
Lamprecht delivered a TEDx speech on absurdism and released his debut novel in 2018. He contributes art criticism and essays to cultural platforms in Hong Kong and the United Kingdom, including Madame Figaro Hong Kong, Art and Piece, and Sing Tao Daily. He has curated projects such as The Elegance of Solitude and Aquarius: The Jar of Pandora. In 2023, he published an anthology titled The Durum Wheat.
