enya FASHION QUEEN

EDITOR Annie Chien｜TRANSLATOR Aurora Lin｜PHOTO PHILLIPS

藝術市場向來是一面鏡子，折射出時代、品味與文化價值的流變。市場的波動反映了藏家的眼光，也見證藝術史的演進。本次，特別邀請甫成為富藝斯（Phillips）香港歷來第 3 名女拍賣官，同時也是現代及當代藝術部拍賣主管暨副專家——黃瑩，分享長年觀察藝術市場的未來趨勢。

從奈良美智的孤獨凝視到趙無極的幻化山水，藝術不只是作品本身，更是文化與時代的交會。當趙無極在 1981 年與張大千相遇後，東方潑墨的靈動與西方抽象的語言開始交融，脈絡延伸至今，影響著市場對藝術的理解與熱情。

Key Perspectives on the Modern and Contemporary Art Market
Interview with Huang Ying, Phillips Hong Kong’s Third Female Auctioneer

The art market has long served as a mirror—reflecting the evolution of taste, cultural values, and the zeitgeist of its era. Its fluctuations reveal the instincts of collectors while bearing witness to art history in motion. In this exclusive interview, we speak with Huang Ying, the newly appointed third female auctioneer in Phillips Hong Kong’s history and the Head of Sale & Associate Specialist in Modern and Contemporary Art. Drawing from years of experience, she offers a nuanced outlook on the shifting contours of the market.

From the quiet gaze of Yoshitomo Nara to the transfigured landscapes of Zao Wou-Ki, art is never merely about the object—it is the confluence of culture and time. When Zao encountered Chang Dai-Chien in 1981, a fusion began between the fluid spontaneity of Eastern ink and the expressive language of Western abstraction. That moment continues to ripple through the art world today, shaping how the market perceives and values artistic expression.

「疫情後藏家更審慎，偏好更明確；現代藝術相對穩健，當代則回歸品質與代表作。」黃瑩說道，藝術市場出現顯著的沉澱效應，相較於以往快速累積藏品的風氣，如今藏家更重視「少而精」。

亞洲藏家尤其關注作品是否能回應文化根源，並承載更深層的精神意涵。她認為，這是一種回到本質的趨勢——當收藏不只是佔有，而是與歷史與文化對話時，作品才真正成為時代的證明：拍賣場上，能代表「時代關鍵節點」或「藝術家轉折期」的作品，最能穿越波動，形成長期共識。

“Collectors are now more deliberate and focused,” says Huang. “Modern art has remained relatively stable, while the contemporary segment is circling back to works of substance—those with quality and significance.” The post-pandemic market, she explains, reflects a deepening of priorities. Gone is the trend of rapid accumulation; in its place is a pursuit of curation defined by restraint and intention.

Asian collectors, in particular, are increasingly drawn to works that resonate with cultural lineage and spiritual depth. Huang sees this as a return to essence—where collecting becomes not just an act of possession, but a dialogue with history and identity. On the auction floor, pieces that capture historically defining moments or pivotal transitions in an artist’s career tend to transcend market fluctuations and establish long-term consensus.

奈良美智 2000 年的《粉紅》，以半身肖像描繪藍衣少女的凝視，將純真與孤獨的情感推向極致，成為奈良美智藝術生涯的關鍵轉折，也映照東亞文化裡對內在情緒的細膩捕捉。

趙無極的《27.01.86》則展現幻化系列的磅礡氣勢，以水墨的厚薄、乾濕層次推展至抽象的無垠空間，象徵生命的蓬勃延展。此時期的趙無極，深受 1981 年在台北與張大千相遇的啟發，將潑墨山水的靈動融入抽象語彙，使作品兼具東方筆墨的縱深與西方抽象的張力。

與之相對，安迪‧沃荷（Andy Warhol）的「心形」系列將情感符號轉化為波普的視覺語彙，映照消費文化中的符號迷思；村上隆則透過超扁平語境，把日本傳統與流行文化交織成批判與趣味並存的美學風景。

Yoshitomo Nara’s Pink (2000), a half-length portrait of a blue-clad girl, crystallizes innocence and isolation into a single, piercing gaze. This marked a turning point in Nara’s practice and speaks to East Asian culture’s acute sensitivity to interior emotion.

Zao Wou-Ki’s 27.01.86, part of his celebrated Hurricane series, unleashes a dynamic interplay of ink’s thickness, dryness, and translucency—pushing the medium into boundless abstraction. This period was profoundly influenced by Zao’s transformative encounter with Chang Dai-Chien in Taipei, inspiring him to fuse the spontaneity of ink-wash landscapes with the expressive force of Western abstraction. The result is a duality of depth and tension—Eastern brushwork meeting Western scale and movement.

In contrast, Andy Warhol’s Heart series distills sentiment into pop visual codes, exposing the semiotic swirl of consumer culture. Takashi Murakami, meanwhile, employs his “superflat” aesthetic to weave tradition and pop into a visual landscape that is both critical and playful—layered with irony, yet rooted in cultural commentary.

作為富藝斯香港第三位女拍賣官，黃瑩深知拍賣官的角色不僅止於主持競標，更是傳遞藝術價值的橋樑。她特別關注女性藝術家的崛起：日裔美國藝術家魯斯．阿薩瓦（Ruth Asawa）以金屬絲雕塑模糊工藝與雕塑界線，將觸覺重新引入藝術史敘事。

洛伊·霍洛韋爾（Loie Hollowell）則以幾何抽象與身體符號，探討女性經驗與社會張力。當女性藏家與藝術家比例逐步上升，藝術市場正孕育全新語境，重新定義權力與美學的分配。

在黃瑩眼中，現代藝術給予形塑經典的範本，當代藝術提供問題意識——作品的說服力，永遠能跨越現代與當代藝術兩端。

As only the third female auctioneer in Phillips Hong Kong’s history, Huang Ying recognizes that an auctioneer’s role extends far beyond the gavel. She sees herself as a bridge—communicating the value, the story, and the context of each work to the room.

She is particularly attuned to the rising presence of women in the art market—both as artists and collectors. Japanese-American artist Ruth Asawa blurred the boundaries between sculpture and craft with her ethereal wire forms, reintroducing tactility into the grand narrative of art history. Loie Hollowell, through geometric abstraction and corporeal symbolism, interrogates the female experience and its sociopolitical tension.

As the number of women artists and collectors steadily increases, the art market is cultivating a new language—one that redefines the structures of power, value, and beauty. This shift, Huang suggests, is not just statistical—it is ideological.

To her, modern art offers the framework of legacy, while contemporary art introduces the urgency of questioning. The power of a work—its ability to persuade, to resonate—is what ultimately transcends the binary of modern and contemporary.