Nick Wilson — Head of Editions, Photographs and Design — in Phillips’ Hong Kong Gallery in West Kowloon. He is seated on Shiro Kuramata’s early 'How High the Moon' two-seater sofa placed near a Yayoi Kusama print.
PHILLIPS: Tell us a bit about your career thus far and why you decided to join Phillips?
NICK WILSON: I started in the auction world 25 years ago in London and have worked in a variety of administrative and specialist roles, as General Manager for Phillips Asia, and most recently spearheading our efforts to bring Editions, Photographs and Design to our sales in Asia as distinct categories. I have been open-minded about moving between locations and have had the amazing experience of working in London, New York, and Hong Kong over the years.
Hans J. Wegner, 'China' armchair, model no. 4283, designed 1944, produced 1956. Editions, Photographs and Design.
P: What particularly fascinates you about Editions, Photographs, and Design as categories? Do you find any interesting connections between them?
NW: Although my previous background is in Chinese traditional works of art, I have developed a strong interest in all three categories since joining Phillips. Though I’ve only recently taken on the role of introducing these categories to Asia, I have always championed them as part of our Modern & Contemporary Art sales in Hong Kong. With Design in particular, I am fascinated by how western design has been influenced by Asian Design — Chinese ceramic forms and glazes influencing Lucie Rie, for example. Or how Chinese classical furniture has influenced Scandinavian 20th century designers, as seen in the ‘China Chair’ by Hans Wegner in the current sale. I believe this is why Asian buyers often turn towards these two areas of design as a starting point for collecting — the simplicity of the works and the connection with Asian inspiration.
All three categories generally fall under the umbrella of editioned multiples. It is crucial to realize that this does not make them any less important, however, as they are often a vital or intrinsic part of the artist’s body of work and sometimes their chosen medium. Although there may be more than one example of each image or work, the artist will usually take great care to ensure the work is exactly as they intended it to be. The medium itself sparks playful creativity. Peter Doig’s Zermatt series (lot 63) were originally produced by the artist’s paintings inspired by iconic ski posters. Years later, Doig decided to produce a limited editions of prints of his paintings to come full circle and draw him closer to the original posters that inspired him.
Peter Doig, Holy Mountain, from Zermatt (D1-6), 2022. Editions, Photographs and Design.
The other defining feature that runs through all three categories is that they are often offered at very approachable price points. There are many works that could appeal to an entry level collector in our sales. We try and present them on view and in the online catalogue in dialogue with each other — either showing artistic connections, juxtapositions, or showing how they might fit together in a home.
P: Who are your favorite artists and makers? Are there any standouts for you from this season’s sale?
NW: I have a strong affinity to Japanese art — whether art that is produced there, or art produced elsewhere that is traditionally appreciated by Japanese collectors. There is an enormous respect and appreciation for art across categories in Japan and that become apparent when you see the often impeccable condition of works found in Japanese collections. I have tried to put a focus on Japanese artists in this sale because I am not alone in my admiration for the Japanese aesthetic — we see this strongly influencing collecting tastes across Asia at the moment. We have a great group of works across different categories by artists such as Yoshitomo Nara, Yayoi Kusama, Eiji Ohashi, Daido Moriyama, and Shiro Kuramata.
Gerrit Thomas Rietveld, 'Zig-Zag' chair, designed 1932, produced circa 1967. Editions, Photographs and Design.
My favorite works in the sale include the Rietveld ‘Zig-Zag Chair which exudes simplicity with a striking cantilevered design that doesn’t look like it should bear a person’s weight but is actually incredibly sturdy. It has outstanding provenance, originally belonging to Rieveld’s son and it is remarkable something that looks so contemporary was first produced in the 1930s. I love the unusually abstract works by David Hockney, Above and Beyond and Gorge D'incre, which are evocative of Californian landscapes. Both are in pristine condition with dazzling colors. I also love the large-scale Daido Moriyama photographs in the sale, including his iconic image of the stray, snarling dog, taken on the streets of Misawa.
David Hockney, Above and Beyond, from Some More New Prints, 1993. Editions, Photographs and Design.
P: What drives your own curiosity as a collector?
NW: One of the great things about working in an auction house is that you don’t really need to collect. You are surrounded by an ever-changing landscape of art that you are able to help shape into a sale every few months. Each time, you come across entirely new things that allow you to create new stories. However, when I do collect works for myself, it’s the journey and discovery that I enjoy the most — finding something that really resonates and appeals to me and then researching, speaking to the auction house, the gallery, or sometimes the artist themselves. That process of finding and acquisition is the interesting part for me.
P: What’s your earliest memory of a museum or art gallery?
NW: My earliest memories of a museum was from a visit to the Vasarely Foundation in Aix-en-Provence. I was transfixed by the optical illusions he was able to create on flat planes and the vivid colors he used. My fascination with other cultures would come later with visits to the British Museum. I was fascinated by the arts of different countries, both in terms of the exoticism and mysticism of the objects from far-flung places, but also about the similarities and influences between all different cultures.
P: What do you find particularly exciting about the Asian art market right now?
NW: I’m excited about the openness of collectors to new categories. It used to be that collectors would often find a category they liked and stick to that. The younger generation seems open to cross-category collecting and devouring knowledge along the way. They spend a lot of time educating themselves and have their own individual tastes, which they enjoy sharing. This makes it an opportune time for Phillips to bring Editions, Photographs and Design to our sales in Asia.
Phillips’ Hong Kong Headquarters in the West Kowloon Cultural District.
P: Any tips for art lovers visiting Hong Kong? Things to see or where to eat?
NW: West Kowloon has transformed the cultural scene in Hong Kong. Meters away from Phillips’ galleries, you have a world class museum dedicated to the visual arts, within walking distance you have the stunning Hong Kong Palace Museum as well as concerts, plays, and cinema screenings throughout the district. It really comes alive at this time of year with the dry and relatively cool weather and feels like a world away from the hustle and bustle of the densely packed city. My favorite food in Hong Kong is Northern Chinese street food, whether it is Beijing dumpling shops on Stanley Street or Shaanxi-style Roujiamo, but the real beauty of the Hong Kong food scene is that there is food to cater for all tastes and budgets so you can have a curry lunch in Phillips Café, high tea in the Peninsula followed by a Michelin-starred restaurant Chinese dinner in the Rotz Carlton and the top of ICC and finish off with an Asian desert in the streets of Tsim Tsa Shui in Kowloon.
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