5 prolific Filipino collectors on the art of collecting

For both collectors, the emotional connection to an artwork is paramount. Ong shares, “I usually go with my gut—if something grabs me or triggers an emotion, I pay attention.” Jimenez-Ong similarly remarks, “I gravitate toward pieces with soul… with quiet complexity… I’m selective about what I allow into my home.”

When it comes to evaluating authenticity and value, both emphasise rigour and personal engagement. “If I need to understand a work’s market value, I triangulate—speaking with trusted friends in the art world, researching catalogues and auction records, and comparing similar works by the artist,” Jimenez-Ong explains. “For authenticity… If the artist has passed, I reach out to their estate, gallery or family. If they’re alive, it’s often just a matter of asking.”

Ong approaches it with a similar balance of heart and head: “Authenticity, for me, begins with the story—the artist’s journey, the artwork’s provenance, and how it resonates with a particular moment in time. I work with trusted gallerists to ensure rigour in the process.”

Recent art trends, both note, reflect broader changes in the world. “The collector is getting younger—and bolder,” observes Jimenez-Ong. “Digital art, ephemeral art and sound art have also become more accepted and celebrated.” Meanwhile, the increasing global appreciation for Filipino creativity is what Ong observes. “It’s great to see Filipino contemporary art being included in important international collections and galleries.”

Preservation is another aspect where both collectors find meaning in living with the art they own. “Most of our pieces are hung and lived with because I believe art should breathe with the home,” says Jimenez-Ong, who detailed her use of lambswool and soft feather dusters from Mentxaca. “Above all, care means presence and living with the work respectfully.”

Ong agrees: “I like to rotate pieces so they’re actually seen and enjoyed, not just kept in storage.” Light, temperature and proper framing are practical concerns—but the joy comes from having the works as part of the spaces he inhabits.

Their passion for sharing extends to lending their pieces. “Some of our pieces have been lent to retrospective shows and international museums as well,” says Ong. His wife recalls one special piece by Ryan Villamael that was on tour for years. “But it’s fulfilling to know it was out there, being experienced,” she comments.

Indeed, Jimenez-Ong’s commitment to cultural stewardship culminated in the founding of the Menarco Vertical Museum in 2023. “Our hope is that the Menarco Vertical Museum becomes a window into the Filipino soul… our history, struggles and triumphs… It’s the first museum of its kind to exclusively showcase living Filipino artists,” she says.

Both collectors remember acquisitions that brought not just pride but a more profound sense of connection. “One piece that stands out is a painting by a young Filipino artist whose work captured this mix of nostalgia, modernism and abstraction,” Ong shares. “Not many people were paying attention back then… It feels great to have been part of that journey early on.” Jimenez-Ong speaks of a “quiet, almost meditative” calligraphic piece on washi paper: “It has no ego. And yet, its presence is subtle and powerful,” she says.

Their advice for new collectors: “Start from the heart. Collecting is not just about ownership, it’s about relationship. Start with your eyes and your heart before your wallet… collecting is a lifelong conversation—one that evolves with you.”

Read more: Art’s new haven: Menarco Vertical Museum project

Aside from being a prominent patron of the arts, Louie Bate sits on the board of the real-estate company RL Commercial and is the managing director of the financial advisory firm LMN Advisors/Partners.

For some, collecting art is purely an investment, to diversify a financial portfolio with tangible assets that have the potential to appreciate. For Louie Bate, however, the economic side is “definitely secondary”. His primary motivation is a personal connection to the work.

“What matters is how the piece makes me feel,” he says. “If it moves me or sticks with me in some way, that's what makes me want to take it home.” This philosophy has been Bate’s guiding principle throughout his three decades of collecting. He believes that having a structured approach, especially when working with a set budget, helps to build a meaningful collection that doesn’t feel “all over the place”. For him, it’s about setting his own path rather than following market trends, particularly when it comes to emerging artists. When acquiring a piece by a modern master, he is driven by whether it fills an existing gap in his collection, adds context or completes a narrative. For any artwork, regardless of the artist, he considers condition and provenance to be non-negotiable.

He acknowledges that the art market has its own dynamics, noting that a lot of people are “chasing the next big thing or getting caught up in auction results and big names”. This can sometimes lead to the artwork itself taking a back seat to the hype. Bate’s advice to new collectors is to buy what they like, but only after doing their homework. He recommends seeing as much art as possible in museums, exhibitions, art fairs and even other collectors’ homes to “develop your eye”.

When it comes to the practicalities, the avid collector offers insights into evaluating authenticity and value. “For living artists, authenticity is not usually an issue as long as you’re buying from a reputable gallery, dealer or auction house,” Bate says. “For artists who’ve passed, I always look into the provenance to make sure the piece is legitimate.”

He finds that value is subjective, often depending on how much a person wants the work. While auction prices can be a helpful reference, particularly in the secondary market, “at the end of the day, it's all about personal desire”, he openly admits. “Have I ever felt that I overpaid? Many times,” he laughs.

His commitment extends to the care and preservation of his collection. A certified restorer regularly cleans older pieces. Bate is careful to protect all artworks from direct sunlight and occasionally uses a dehumidifier to maintain a stable environment. 

His collection is not just for personal enjoyment. He has lent works to Areté at the Ateneo, the Ayala Museum, the Metropolitan Museum of Manila and recently to the National Gallery Singapore. He also notes having worked with commercial galleries like Finale Art File and the auction house León Gallery in the past. Bate values partners who have a strong track record of handling and caring for artworks, respectful of the work and professional in how they manage it.

Ultimately, Bate hopes that his collection brings joy to people and showcases the “incredible talent we have here in the Philippines”. He feels that supporting local, promising, but often overlooked artists has always been important to him, and he understands that “patronage plays a big role in helping the local art scene grow and thrive”.

Read more: The beauty of order in abstraction: National Gallery Singapore mounts its first-ever solo exhibition dedicated to Fernando Zöbel

Consummate globetrotter Timothy Tan has frequented Art Basel fairs and other similar global artistic events. Previously, he has worked with the Metropolitan Museum of Manila to mount internationally relevant exhibitions, featuring some of his prized collections

His art collection began as a simple desire to decorate his apartment walls, but it evolved into a journey of exploring emotions and cultures. “Art helps me connect with myself, with others and with the world,” Tan says. He is particularly passionate about discovering and supporting “emerging and underrepresented artists, especially from the Asian and African diasporas”. For Tan, collecting art goes beyond acquiring objects; it is about “amplifying voices and stories that matter”.

“Art plays a deeply personal role in my life—it’s a source of reflection, inspiration, and connection,” Tan says. “Beyond financial value, it enriches my daily environment, sparks meaningful conversations, and challenges me to see the world differently. It grounds me, but also constantly pushes me forward.”

When evaluating a piece of art, Tan prioritises the artist’s intent and the emotional impact of the work. “Authenticity starts with the artist's intent—why the work was made, what it's trying to say, and how honestly it speaks to me,” he says.

Read more: Larry Ossei-Mensah puts African Diaspora at the centre of his first curated exhibition in the Philippines

Several factors influence Tan’s decision to acquire a specific artwork, starting with his emotional response. He considers the artist's merit, including practice, consistency and voice.

“Provenance, condition, and gallery representation are important, especially for long-term value," he also notes. While Tan stays aware of market trends, he does not allow them to dictate his choices. Ultimately, his decisions are “a balance between intuition and thoughtful research”.

Tan has observed key trends in the art market, noting a shift away from “high-end ‘trophy art’ toward more thoughtful collecting”. He also sees a growing interest in emerging voices, especially from the Global South, and an increase in young collectors discovering art digitally. He observes that private sales and mid-tier galleries are thriving, while themes of sustainability, diversity, and AI-driven creativity are becoming more central. According to Tan, the market today feels “more values-driven and globally inclusive than ever”.

Read more: Metropolitan Museum of Manila presents ‘Wild’, an exhibition of nature-inspired abstract art

A significant part of the joy of collecting for Tan is the ability to share his collection. He has loaned his works to museums in the Philippines and abroad. For instance, a collection of his African Diaspora artists was featured in the Sounds of Blackness exhibition at the Metropolitan Museum of Manila in 2023. A year later, he lent works by contemporary women artists for a show at the same museum called Wild: Women Abstractionists on Nature. He also has works on loan to the Buffalo AKG Art Museum in New York and the Yale University Art Gallery.

When asked about a successful acquisition he is particularly proud of, Tan mentions an early Cecily Brown piece that was shown in Wild and a sculptural installation by Jes Fan called Bivalve II.

For those just starting to collect art, Tan advises them to “start with what moves you personally—don't just follow trends”. He recommends taking the time to learn about artists, their practices and the stories behind their work. He also stresses the importance of building relationships with galleries and other collectors, and to remember that collecting is as much about passion as it is about investment. “Stay curious and enjoy the journey,” he concludes.

Multihyphenate television personality Kim Atienza has been known not only as a weather forecaster but also for his knack for trivia, culture, sports, and more.

For the broadcaster and collector, art is far more than an investment or interior décor piece. “Art, for me, imitates life. I like art pieces that are not only pretty but also ones that would move me,” he says. “Whenever I see an art piece, be it a painting or a sculpture, it has to move me. I have to either be awed by it… I could even be disturbed by it, but if it moves me, I’ll collect it.”

Atienza sees art as a reflection of the full spectrum of life—not just the beautiful, but also the unsettling. “Art moves the soul. Art is artifice. Art is about life. Art imitates not only the beautiful but also the ugly in life.” He admits to being deeply affected by pieces that are executed with such beauty that they can move him to tears.

Read more: Artistic Impulse: Inside Kim and Feli Atienza’s art-filled home

Trusted mentors shaped his entry into collecting. “When I was discerning how to collect art, I had very good advisers… Patrick Flores, the late Bobby Valenzuela and Dr Joven Cuanang,” he shares. “I am good friends with gallery owners, Cesar ‘Jun’ Villalon, the late Didi Dee of Hiraya Gallery, who would also advise me on how to check out authentic pieces.”

When it comes to acquiring works, Atienza is driven by artistic merit, execution and emotional response. “It can be abstract. It can be figurative. But it has to be so well made,” he says. He also considers condition and provenance, though the latter is more for authenticity than for resale value. “I’m not in the business of flipping art… when I get the piece, it stays with me forever or for a very long time.”

He has witnessed the Philippine art market transform dramatically over the years. “When I was collecting more than 25 years ago, it was not like this,” he recalls. “Now… more people are into collecting avant-garde pieces, progressive art, and art that disturbs.” He praises the rise of “auction rockstars—young artists who made it to the top” through sheer talent and critical acclaim.

Preserving art in a tropical climate poses challenges. “I should be better at this because I have 51 dogs,” he admits. “But we make sure that the dogs do not reach the art because it would be a disaster if they did.” He stressed the importance of avoiding direct sunlight, maintaining low humidity and inspecting stored pieces regularly to prevent mould damage.

Atienza and his wife, Feli, have been generous in sharing their collection. “One of the gems of my collection is Free Trade by Santiago Bose, which is with the Ateneo Art Gallery right now,” he says. Another piece, MamaKinley by Alfredo Esquillo, “has been to at least five countries… It was in the Whitney Museum in New York for about six months”.

Looking ahead, Atienza hopes the works they’ve collected will enrich public institutions. “Feli [my wife] and I collected huge pieces that are best seen in a museum. When we’re a bit older, we’d like to lend these pieces to important institutions to be seen by more people.”

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