When 10 Chancery Lane Gallery first opened its doors in 2001, Hong Kong’s art landscape was still a wide, uncertain frontier—brimming with promise, yet undefined. It was into this charged atmosphere that Katie de Tilly stepped, guided not by trend or guarantee, but by an unshakable belief in the unfolding power of Asia-Pacific contemporary art. Over the past two decades, 10 Chancery Lane has become one of the region’s defining forces, championing artists whose works speak both from their own soil and to the wider world. In an industry where fashions shift like the weather, the gallery’s commitment to intuition, deep engagement, and personal connection has remained its true north.
Now, poised to unveil a vibrant constellation of artists from China, Southeast Asia, Mongolia, and beyond at Art Basel Hong Kong 2025, 10 Chancery Lane continues to move forward with the same fearless spirit that shaped its beginnings.
In an exclusive conversation with Artmag, Katie de Tilly reflects on the journey so far—and the horizons still to be discovered.

About the Gallery & Vision

Q: Looking back to 2001, when 10 Chancery Lane first opened, what inspired you to create a gallery centered around Asia-Pacific contemporary art in Hong Kong?

A: In the late 1990s, things were beginning to happen with Chinese contemporary art that was making headway on the international scene. Chinese artists were being included in the Venice Biennale, auction houses were seeing good sales, and international museums had begun to mount exhibitions. I started to explore the art scene in Beijing, and it was still very small, with a lot of room to grow. It was meeting Wang Keping and buying his work that motivated me to start a gallery. I also realized that there was very little knowledge of art from Asia. Japan and South Korea had more established movements, and contemporary art from China was on its way, but Southeast Asia remained a world unknown.

Q: Over the past two decades, the gallery has played a key role in shaping the Hong Kong art landscape. How has your vision evolved during this time?

A: I have always believed in the significance of art within society and how it tells the story of what we are living today. I rely heavily on my intuition, and it has served me well. I learned early on not to follow trends—by the time something is trending, it’s already too late. I prefer to feel the impact that artists are having and how their work narrates the world around us. This might be evident in the materials they use, their subject matter, or in their personal story, allowing us to connect to their work and to history. There are as many ways to be an artist as there are artists, but somehow the work must touch us and make us feel something.

Gallery Programming & Future Plans

Q: Can you tell us more about the gallery’s current focus or any curatorial themes you’re developing for 2025 and beyond?

A: We continue to work with the great artists we have championed since the beginning, such as Wang Keping and Huang Rui, while also exploring new artists from the region. We invite curators to put together exciting exhibitions, such as Beauty Will Save the World: Eight Artists from Southeast Asia curated by Iola Lenzi, an incredible scholar and writer on Southeast Asian contemporary art. We recently invited a new artist from Mongolia, ANUnaran Jargalsaikhan, to exhibit, sparking our curiosity about artists from that country. We also hold an annual show with young Hong Kong art graduates. It all unfolds organically.
Before Covid, we were doing 10 exhibitions and participating in 4 to 6 art fairs a year. Thanks to Covid slowing the world down, we slowed down too—and realized that focusing on fewer, higher-quality exhibitions creates a stronger connection with our audiences. Ultimately, it’s about connecting the artist and their work with the collector, and that personal engagement remains the best part of the gallery profession.

Q: Are there any upcoming exhibitions, artist residencies, or collaborations that you’re especially excited about?

A: We are excited about each exhibition—it’s like a child being born. We are currently working on Huang Rui’s exhibition Sea of Silver Sand, a reflective journey inspired by his time living in Japan in the 1980s and ’90s. We’re also curating an exhibition of female artists from China for the fall, with studio visits planned soon. Additionally, we are preparing a posthumous retrospective for Vietnamese-American artist Dinh Q. Lê, who sadly passed away last year. There are too many ideas and not enough time.

Art Basel Hong Kong 2025 Participation

Q: This year at Art Basel Hong Kong, you’re presenting an ambitious lineup spanning Southeast Asia, China, France, and Mongolia. How did you curate this dynamic selection?

A: It was important that the works speak to each other. Although the artists come from very different backgrounds, the selection felt organic. The key is balance—and I feel it worked.

Q: What excites you most about introducing Mongolian artist Anunaran J. to the Art Basel audience?

A: ANUnaran J. from Mongolia is a very exciting artist who works across performance, installations, paintings, mixed media, and more. I am eager to introduce her to the international art scene. I love her connection to nature, mysticism, and the self. She is brimming with talent and ideas, and I believe she will go far.

Q: How has your experience been working with the Art Basel team this year—any new policies, processes, or changes worth noting?

A: Art Basel is an excellent company and brand. They gather the best artists, galleries, museums, and collectors. You get what you pay for, and I have always been happy with the results.

Q: How were sales and collector engagement during ABHK25, and did anything about this year’s fair feel different from previous editions?

A: Hong Kong was buzzing during Art Basel Hong Kong this year, and we felt the excitement back in the city. We met many new collectors—locally, regionally, and internationally. The Asian market is one to nurture and continues to grow.

Q: In your view, what role does Art Basel Hong Kong play in shaping or reflecting the global perception of contemporary Asian art?

A: Art Basel Hong Kong allows international collectors to better understand contemporary Asian art. It offers by far the best quality and selection of contemporary art from the region. Although there’s a lot to see in a short time, the discoveries are worth it. It’s a good idea to research galleries and artists beforehand to maximize the experience.

Reflections on the Market

Q: With a shifting global economy and evolving collector behaviors, how do you see the role of art galleries changing over the next five years?

A: This is a question no one can answer definitively. We are coming out of Covid, but the new world order is experiencing some bumps—we hope not too many. Art has survived many crises, and many great collections were built during wartime. We will continue to engage on a personal level, which remains the best way to experience art.

Q: Do you feel that collectors are becoming more engaged with regional narratives, political histories, and lesser-known geographies like Southeast Asia and Central Asia?

A: There is so much to explore in lesser-known art scenes. We saw this happen with Africa. Southeast Asia, South Asia, North Asia, and others are showing us exciting art with narratives that are both regional and global. It’s fascinating to watch it unfold.

Q: Has the demand for online engagement and digital visibility changed the way you work with artists or present exhibitions?

A: Indeed, we are glued to our smartphones all day long, but it is much more meaningful to experience art in person. I have often been excited by an artist online, only to find their work underwhelming in real life. Digital engagement is a good tool to research and deepen understanding of an artist you’ve already connected with. However, whenever possible, try to see the work in person—or ask galleries for detailed videos if you can’t.

Q: What advice would you give to young gallerists or curators looking to establish meaningful, sustainable practices in today’s art world?

A: Think deeply, feel strongly, take risks, and follow what you believe. Every gallery has its own style and personality. Don’t be generic. Think big—and be big in what you do.