Singaporean collector Cindy Chua-Tay splits her time between Hong Kong and New York City, where she has served on the Guggenheim Museum’s Board of Trustees since 2015. She is also a member of the M+ Board and Acquisitions Committee.

In collaboration with Tatler China

‘When I was young, my parents always took my sister and I to museums whenever we travelled. These experiences not only taught me how to appreciate new things, but also developed my artistic perception and nurtured my interest in art. In the 1990s, with my first paycheck, I purchased a drawing by Jean-Francois Debongnie. This piece remains in my collection to this day.

‘The way I collect is incredibly intuitive. I have a clear sense of what I like, and I only purchase what genuinely speaks to me. I usually refrain from prior budgeting or dwelling on whether my collection will increase in value. My desire to collect is driven simply by the joy of discovery – and the inspiration it brings. When I was younger, my taste in art was vastly different from what it is today. With age, I have become more confident in what I appreciate, allowing me to refine my direction as a collector continuously.

‘I have always been fascinated by the works of Christopher Wool. He is an all-time master of creating tension in his paintings, and especially skilled at contrasting gestural strokes with blank spaces, which is incredibly powerful.

‘Another artist whom I admire is Ed Ruscha. I studied Mass Communications in university, and I was captivated by the world of advertising and catchy slogans. Ruscha, known for his clever use of commercial imagery, really appeals to me. His works may have been created in the early 1960s and 1970s, yet they remain current and relevant today.

‘I have my eye on Louise Nevelson, too. She often uses basic found objects – such as wood salvaged from door frames or chairs – in her installations. They may appear simple at first glance, but they have a powerful depth of expression.

‘I also collect works from lesser-known artists, among them Cynthia Talmadge. I have come to appreciate her atmospheric scenes, whether real or fictional, which offer a deep sense of ambiguity and emotional engagement.

‘Pia Krajewski portrays simple scenes, presenting them on the canvas with unusual textures and colors. Each of the multiple layers in the paintings carries a different meaning. This reminds me of the poet E. E. Cummings’s use of unconventional typography and word combinations in his poetry.

‘I discovered the works of Joanna Piotrowska at the Venice Biennale in 2022. Her photography is deeply rooted in everyday life, precisely conveying the emotions and implicit power dynamics of our existence.

‘My husband (Liam Tay) and I love meeting the artists who have created the works in our collection. He shares a special bond with the artist N. Dash. Whenever we visit her studio, he brings along tequila. We’ve coined it our “tequila relationship” with her!

‘My husband gravitates towards artworks with strong lines and masculine aesthetics, especially those that demonstrate solid technical skill. However, I personally find abstract art more intriguing, including works by Günther Uecker. Many of his pieces feature nails, one of which I have hanging by the front door in my house. Its appearance changes constantly depending on the viewing angle and the lighting.

‘When we first started collecting art, we bought mainly for our home. Slowly, we’ve started gravitating towards donating works to cultural institutions. Recently, I acquired a painting by Liu Xiaodong. I was drawn to his depictions of his experience during the pandemic while confined to his apartment in New York City, where he could only work on small canvases. The piece I bought captures a unique period of his life, and it carries significant personal meaning for me. I donated it to the Guggenheim due to its connection to New York City. I will continue to support and donate works to the best of my ability, as long as their artistic importance is recognized.

‘Many of my friendships have been forged through a mutual love for art. My dear friend Irene Kim (Art Basel’s Global Head of VIP Relations) exudes both wisdom and generosity. Our conversations flow seamlessly whenever we spend time together. Thanks to the Hong Kong fair, she now visits Asia more often, allowing us more opportunities to catch up outside of New York City.

‘Another close friend of mine is Richard Armstrong, the former director of the Guggenheim Museum. With his extensive experience in the industry, he can cut through all the superficialities. Richard has been a great source of inspiration for me, and I’ve gleaned invaluable insights from our interactions. Whenever he visits Hong Kong, we make it a tradition to enjoy dim sum together before diving into the art.

‘I have some fond memories related to Art Basel Hong Kong. In 2006, the Guggenheim Museum established the Asian Art Initiative, the first of its kind to support Asian art in the United States. As one of the museum’s trustees, I had the honor of launching the Asian Art Circle during Art Basel Hong Kong in 2019. This initiative is dedicated to promoting Asian art on the international stage and providing financial support for exhibition projects and Asian art collections at the museum.

‘We launched this initiative alongside the fair for a variety of reasons. Hong Kong holds a prominent position as one of the world’s most important art hubs. The Art Basel show here not only fosters museum development in Asia, but also encourages contemporary-art initiatives across the region, and significantly enhances public awareness of Asia as a pivotal center for the arts.

‘In 2023, Hauser & Wirth opened a solo exhibition of my good friend Rashid Johnson in its Hong Kong gallery space during Art Basel. Johnson is a fellow trustee of the Guggenheim Foundation, and a leading figure in post-black art. He infuses his work with personal experience to explore shared cultural identities and critical history. Presenting his narrative and expressive work in its full glory, this exhibition resonated deeply with Hong Kong’s ever-evolving landscape, and was a significant artistic milestone for him.

‘I am also very proud of the institutions in Hong Kong. The significance of M+ on the regional and global art scene is profound. Having witnessed its magnificent building take shape and explored its extensive collections, I can’t help but feel a sense of awe and appreciation. In 2023, Tai Kwun opened ‘Myth Makers – Spectrosynthesis III’, the largest LGBTQ+ art exhibition in Hong Kong’s history. This was co-presented by my good friend Patrick Sun, Executive Director and Founder of Sunpride Foundation, and an advocate for LGBTQ+ art and artists across Asia. This exhibition brought together more than 100 artworks from over 60 artists from Asia and its diasporas, showcasing inclusivity and diversity.

‘Every artwork we collect holds its own story, and these stories have become interwoven with our lives. These narratives, coupled with the moments we’ve shared, form an integral part of our collective memories and shared experiences.’