The Collector’s Gaze: Culture vulture Bryant Chao on his journey in fine art and pop culture

My collecting journey didn’t start with fine art—it started with sneakers and toys. I went to university in the US and being immersed in a western culture shaped my tastes.

Initially, I was drawn to “hype culture”—limited-edition Nike collaborations, rare vinyl toys, exclusive designer drops. But when pop art and fine art started blending together, I found myself drawn to artists like Takashi Murakami and Kaws. Around this time, major auction houses and galleries began recognising these artists as more than just hype—they were legitimate contemporary artists. That shift made me realise that art wasn’t as distant or inaccessible as I once thought.

I’ve always been fascinated by surrealism. One of my favourite artists is Louise Bonnet, whose work distorts the human body in exaggerated ways, creating a mix of humour, discomfort and tension. I also admire François-Xavier Lalanne, known for his sculptural furniture that fuses surrealism with functionality—like a rhinoceros that unfolds into a desk or a fish that turns into a bar.

I love the idea that art doesn’t just have to be something you look at—it can be something you interact with. That’s why I’ve recently started collecting art furniture. One of my prized pieces is a Jean Prouvé [the late French architect] aluminium shutter, originally part of a modular home. Instead of displaying it like a traditional artwork, I use it as a functional screen in my office.

One of the most thrilling parts of collecting is the chase. There’s nothing quite like discovering an emerging artist before they become mainstream, watching their reputation grow—and knowing you saw their potential early on.

One guilty pleasure is securing pieces that others can’t get. The art world is a game—sometimes it’s not about how much you’re willing to pay but about who you know, what relationships you build and how you navigate the system.

People often ask me if I see art as an investment. I won’t deny that art and capital are intertwined but, for me, the emotional connection comes first. The worst collecting mistakes I’ve made were when I bought pieces purely for investment, without loving them. Those are the works I later regret.

In the next few years, I’m planning two major things. First, I’m refining my collection. Over time, my tastes have evolved and I want my collection to reflect my current vision—not just random pieces I picked up along the way. Many experienced collectors tell me that every seven to eight years, they re-evaluate their collection— keeping what still resonates and letting go of what doesn’t. I’m now at that stage.

Second, I’m creating a space that blends art, furniture and lifestyle. It won’t be a gallery and it won’t be a store—it’ll be more like Bryant’s Salon, a place where people can walk in, appreciate beautiful things and feel at home. Because art shouldn’t just be admired from a distance—it should be lived with.

This is part of a series created in collaboration with Art Basel Hong Kong

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