Most of us have heard the same tired stereotypes about art galleries: they’re “intimidating,” “posh,” run by “snobbish” gallerists, and filled with art that’s invariably “expensive” or “impossible to understand”. A recent survey conducted in the UK further reinforces these misconceptions, which include the belief that galleries only display paintings and that visitors are expected to be quiet.1
Nothing could be further from the truth at Vinyl on Vinyl Gallery in Manila and AStar Gallery in Taipei – two trailblazing art spaces that boldly dismantle such urban myths. Rejecting the white cube model in favour of a less traditional approach, both galleries offer diverse programmes that focus not only on artists who are talented, authentic, and unique, but also on connecting with audiences, building communities and forging friendships.
“I’m all about the community”, declares Gaby Dela Merced, founder of Vinyl on Vinyl, whose warehouse-cum-gallery showcases emerging trends in art and is a welcoming space for everyone. Reflecting on her deep appreciation for underground art and culture, Dela Merced does not shy away from transforming the gallery to match the energy: painting her walls an Instagram-worthy jade green (for queer performance artist Jellyfish Kisses) or a checkerboard black and white (for pop artist-illustrator Roger Mond). Street artist Dennis Bato’s site-specific installations have transformed every inch of the space into immersive, experiential environments. Formality? Not here. And yes, music plays.
Perhaps Dela Merced’s success stems from following her heart – “Authenticity is key!” she insists. An accidental gallerist by circumstance, she first studied interior design and advertising, but later followed her teenage passion for race-car driving, eventually becoming one of the few Filipinas to dominate the Asian Formula Three circuit. While racing in the US, she frequented alternative galleries such as La Luz de Jesus and GR2 in Los Angeles and made trips to Comic-Con in San Diego. As her passion for and knowledge of street art grew, so did the realisation of a calling beyond the racetrack.
From these origins, Vinyl on Vinyl was born in Manila in 2009, initially as a music-filled space to showcase her growing collection of vinyl collectables. It was in discovering a community of artists who shared her passion for making a positive impact that Dela Merced found a way to bridge the worlds of urban and contemporary art, toy art and sculpture, music and sound art – all of which inform the gallery’s programme today.
AStar Gallery’s founder, Shelley Wang, has always believed that running a gallery is about more than just selling art. “It’s about education – educating oneself and educating your clients. There is nothing more rewarding than when clients become friends,” she says. AStar’s thirty-year history is testament to her vision. The gallery’s culturally rich programme of talks, music appreciation events, and film screenings, including sharing sessions, recently featured “Faces Places,” a French documentary directed by Agnès Varda and artist JR, and hosted a live DJ performance for the opening of street artist Mr. OGAY’s exhibition.
Wang’s art journey has been less about discovery and more about reconnecting with a deep-rooted love for art. Though she didn’t qualify for art school, she majored in Japanese language and culture at university. When her family moved to Scotland, frequent museum and gallery visits in Europe reignited her passion. Returning to Taiwan, Wang’s global outlook led her to a director of sales role at a members’ club, where she met her future business partner, a Murano glass dealer. She eventually became the owner, travelling regularly to Venice for fifteen years to connect with artists and clients, and discovering a knack for building relationships.
Wang’s entry into the contemporary art world was part serendipity, part practicality: she had to source art for her new multi-level space in downtown Taipei. Meeting renowned artist and professor Dean-E Mei proved pivotal, as it introduced her to Taipei’s creative and intellectual community, many of whom eventually joined her gallery.
Both Dela Merced and Wang recognise that there is no room for complacency on the road to success. While it is one thing to do well locally, both recognise the need to promote their artists internationally, primarily through participating in overseas art fairs. Many gallerists, including Stephanie Braun of Karin Weber Gallery and Rachel Lee of Soluna Fine Art, both Hong Kong-based galleries, echo this point. “Fairs are really key for meeting new (international) clients, and to showcase the best works of our artists,” Braun affirmed. Lee added that “it really is about balancing creative and business responsibilities.”
This March, Dela Merced reconnected with Hong Kong clients after having been absent since the pandemic. Aligning with her vision to highlight peripheral art forms from the Philippines, she returned with a solo presentation of surrealist paintings, unconventional objects, and quirky ‘Ohlala’ figurines by gallery artist Reen Barrera at Art Central. “Fairs are the best way to showcase Filipino artists on the world stage,” she says, calling Hong Kong “the original melting pot”.
Wang, meanwhile, debuted at Art Central with two artists from Taiwan: Dean-E Mei’s multimedia Dadaist works featured prominently in the Fair’s “Legend” section, while modern colourful landscape paintings by young contemporary artist Chong-Xiao Zheng were presented in a solo booth.
Both Dela Merced and Wang were delighted at the exposure their galleries and artists received in Hong Kong, and especially at the new friendships they made with visitors from around the world. With Dela Merced’s infectious energy and Wang’s easy-going charm, it’s no wonder that many of these new friends have since visited their galleries in Manila and Taipei. Snobbish? Certainly not.
Ever the athlete, it comes as little surprise to learn that Dela Merced remains true to her love of sport by playing for the Philippines Women’s National Flag Football team; Wang continues to import Venetian glass, and curates the international pavilion for the Glass Art Festival in Hsinchu – sixteen years and counting! Their journeys might be worlds apart, but at the heart of it all, Dela Merced and Wang share the same secret to success: authenticity – a genuine spark that fuels their passion, binds their communities, and keeps their creative fires burning bright.
