Why do people collect art? And what does it take to build a collection? From a young collector to a global law firm, we speak to three collectors to find out more. 

Stephen Teo: Stories of Singapore

Stephen Teo’s collecting journey first began in 2014, with the purchase of two works by acclaimed Singaporean watercolourist Ong Kim Seng. In the decade since, his family’s commitment to collecting local artists has become increasingly directed and purposeful — driven not only by aesthetic pleasure, but also by the broader mission of preserving Singapore’s culture and heritage.

Today, the collection spans a variety of eras and styles, encompassing established names in Singaporean art history like Ong Kim Seng, Lim Tze Peng, and Koeh Sia Yong as well as mid- career artists like Zhu Hong and Kevin Tan. The family also takes pride in presenting exhibitions, acquiring directly from living artists, and bringing attention to lesser-known artists.

During Singapore Gallery Month, they will present their first privately funded public show with artcommune gallery, as well as two Collector’s Home Tours (exclusive to those who have purchased the SGM Patron’s Pass, which grants access to VIP and private events).

For the family, collecting is a form of cultural stewardship, with benefits for society at large. “Along the way,” Teo explains, “we’ve come to see collecting not simply as acquiring art, but as a meaningful way to support the ecosystem, from artists and galleries to curators and conservators.”

When it comes to choosing art, Teo prioritises emotional connection — “a piece needs to speak to
me, or say something that deserves to be heard” — as well as the broader story of his collection. Over time, he has developed a collection with a strong focus on the changing histories, landscapes, and identity of Singapore.

Two of his favourite works are a 2024 oil painting of samsui women by Koeh Sia Yong, honouring the hardworking women of yesteryear, and a lively, stylised mixed media piece by Zhu Hong expressing what Teo describes as the “energy and grit” of the Geylang neighbourhood — works that tell “stories of place, people, and time.”

Going forward, Teo hopes to see more appreciation for lesser- known artists. He also feels heartened that collectors these days are increasingly philanthropy-driven, public-spirited, and keen to give back to society. To new collectors, he offers the following advice: immerse yourself deeply in the art world by visiting exhibitions and speaking with artists, collect art you genuinely care about, and consider collecting as a form of philanthropy — a way to support living artists and a diverse art scene.

Finally, he stresses the value of sharing your love for art with others, through visiting exhibitions together or having conversations. “The more we share our positive experiences, the more we can foster a culture of appreciation and support for the visual arts — making collecting not just a personal pursuit, but a communal one.”

Ivy Lam: Collecting from the heart

For Ivy Lam, collecting art is a deeply personal enterprise. The arts educator and heritage professional began buying art after her MA in Asian Art Histories at the LASALLE College of the Arts, where she became acquainted with a community of collectors.

Her first purchase was a piece entitled Moss by New York-based Singaporean artist Maureen Hoon. Inspired by the sight of a sunset reflected in the icy slush puddles of a New York winter, the textural, mixed media work conveyed a sense of hope amidst difficult circumstances. In 2018 — several years after first seeing the work — Lam reached out to Hoon to acquire it, and also commissioned a companion piece inspired by a Leonard Cohen song. Since then, she has developed a friendship with the artist and obtained a third piece by her.

During our conversation, Lam made a distinction between buying and collecting art. While you can simply buy art according to personal whims, much more thought and effort goes into documenting, curating, and caring for a serious collection. Starting off as a buyer, and following the popular advice to “buy what you like,” she took her time to develop her individual taste and collecting goals.

“Knowing what you like is knowing yourself,” Lam explains. “Knowing yourself is really the start of your collection. You have no collection to speak of if you don’t know what you represent and what direction you want to take.”

Just as her first purchase was driven by an emotional connection with Hoon’s struggles as an artist, Lam’s collection remains rooted in personal motives — the desire to mark important milestones and make meaning of certain periods in her life. Her 20-odd pieces, consisting primarily of prints, are either stored or on display in her home. From a semi-sculptural work by Melissa Tan hanging on her wall to ceramic pieces by Nelson Lim and Daisy Toh placed in her bedroom, it’s clear that this is a collection she lives with every day.

For collectors who are just starting out, Lam stresses the importance of setting an acquisition budget and doing careful research into artists of interest. “Always think about materials,” she adds. For instance, paper works may be affordable, but they have to be kept away from certain areas of the home (like the kitchen and bathroom) and require the regular use of a dehumidifier to prevent mould. Our conversation revealed other potential hidden costs — from good framing services to protective glass — that new collectors, hoping to keep their treasures in tip-top shape, would do well to note.

Currently, most of Lam’s works are by Singaporean and Southeast Asian artists, but she has recently started branching out. Her newest acquisition is Re-Build/Re-Think, a print sold by American artist Shepard Fairey to raise funds for the Los Angeles wildfire relief efforts earlier
this year. The work, which features a sparrow flying above an outstretched hand carrying flames, spoke to her not only as a signal of support, but also as a poignant reminder of the preciousness of home.

Freshfields: Art at work

Besides individual collectors, corporate and institutional collectors are also important players
in the scene. When Freshfields, an almost 300-year-old London- based law firm with outposts across the globe, moved into a new Singapore office, they wanted to reflect the diversity of Southeast Asia through their art collection.

To that end, they partnered with local gallery Yeo Workshop to curate a selection of works reflecting the firm’s values of justice, fairness, and transformation. With its strong roster of both emerging and established contemporary artists from the region, the gallery was able to build a far-ranging collection that introduced a variety of mediums and themes.

Today, the Freshfields Singapore office is graced with works in charcoal, oil, and other mediums by local artists like Sarah Choo Jing and Wei Leng Tay as well as regional names like Noor Mahnun Anum and Maryanto. From Mike HJ Chang’s paper-pulp snakes to Hazel Lim’s metre-tall woven paper piece, works of different sizes breathe life into the office’s pantry, seating areas, and meeting rooms.

These works are not merely locked away in a vault, but seen and enjoyed by people every day — and there are still possibilities of expanding the collection in the future. Says Nicholas Lingard, the firm’s Singapore managing partner: “One of the aims of placing art in and around the office is to inspire, uplift, and provoke thought — be it meaningful conversations with clients or among colleagues, or personal reflection amid a day’s work … We hope our collection opens up that world of possibilities for the people who work here, visit, and make their own unique connections with the different works on display.”

___________________________________

Singapore Gallery Month is presented by the Art Galleries Association Singapore and runs from 15 August to 14 September 2025. Find out more at https://agas.org.sg/sgm/.

This article is part of the Singapore Gallery Month guide “How and Where to Buy Art,” which also contains information about art galleries, lifestyle picks, and more. Pick up a free copy at all AGAS member galleries and selected lifestyle venues.

Header image: View of the Freshfields office. Right: Hazel Lim, Concrete Poetry (2025), paper, 120 x 100 x 80 cm. Back: Zulkifli Lee, Pupuk. Image courtesy of Yeo Workshop / Jonathan Tan.

This article is produced in paid partnership with the Art Galleries Association Singapore. Thank you for supporting the institutions that support Plural.