What Defines Cen Long? - An Interview with Young Collector Wu Shidun on the Value Judgment and Systematic Approach to Art Collection

In recent years, the art collection culture in Taiwan has matured, with many new-generation collectors emerging. These young collectors share several characteristics: they have a unique eye, are confident in their tastes, and are willing to share their collections on media or social platforms. These collectors are gradually breaking away from traditional concepts and are not solely relying on galleries or traditional media for constructing value systems. In this process of decentralization and de-authoritarianization, more extreme collecting groups have emerged. Some are profit-driven, some chase cutting-edge trends, and others use emotional attachment to land as a standard for their collections. Among them, a small group believes that artists' pursuit of creative excellence is like self-illuminating stars, and their art collections serve as a guide to these lights.

Artemperor recently interviewed a low-profile young collector, Wu Shidun, who has gained attention due to his passion for the artist Cen Long, who recently appeared on a magazine cover. In this unusually vibrant era, Wu's resolute collection trajectory is surprising. What considerations lie behind his distinctive taste? Let's delve into the collecting philosophy of this young entrepreneur.

Artemperor: Can you talk about the beginning of your collection of Cen Long's works?

Wu Shidun (hereinafter referred to as Wu): I can never forget the emotion I felt nearly ten years ago when I first saw Cen Long's works at Han Art. It was a feeling of calmness, warmth, and love, marking the starting point of my art collection. His works can always convey humanity's longing for love, freedom, kindness, and hope. Someone once said, "We cannot see the existence of God or deities with our own eyes, but through the transmission of art, heaven proves to people that it is right here with us." For me, Cen Long's art has the power to bring people back to the most primitive and pure beauty and tranquility in the noisy and chaotic modern environment, prompting deeper reflection on the values we, as humans, should truly embody.

Artemperor: Why are you particularly fond of Cen Long's art? Do you also collect works from other artists?

Wu Shidun: When I first started entering the field of art collecting, I visited some galleries and often attended art fairs. At that time, galleries often recommended prints to young people like us, claiming they had the potential for appreciation. I followed some advice and bought a few. Occasionally, if I see works I like that are not too expensive, I'll still buy them for fun. However, my main focus is on Cen Long. Also, I am quite selective in whom I trust. After Metra, who understands my intention to collect Cen Long for the long term, became my art investment consultant, she has been helping me plan and recommend since ten years ago.

Artemperor: With the amount you invest, you could actually buy works from well-known artists. Have you ever considered going in that direction?

I don't really believe in so-called famous artists' works. In the field of art collecting, I think it's essential not to be too superstitious about brand names. Instead, one should consider what value a particular artwork can bring to you. After all, as a business person myself, I believe in the essence of things rather than surface appearances. Running a business requires solidly producing goods. I collect art because the value is not just monetary; it's about whether it can elevate my thoughts and spiritual well-being. That's the true essence of art collecting. Of course, the appreciation of artworks is a significant added value, but this is not like buying stocks. While spending a lot on famous artists might be an option, finding potential gems with real talent and market value that hasn't fully erupted yet can be more rewarding in the long run, not just as a validation of one's eye but also accumulating substantial returns over time.

Artemperor: With so many works from various artists, how do you develop your unique perspective when choosing artworks?

Wu: Indeed, I believe this is the most challenging part for all collectors because appreciating art is one thing, but the considerations for actual collection are different. I think it can be viewed from three aspects. First, communication with the artwork itself. There must be resonance or emotion with the artwork; this is the essence of art collecting. Never be swayed by market trends or speculation factors. Don't collect works without a personal connection; that would be a pity. Second, advice from professional art brokers. Since most collectors don't have a background in the art field, professional art brokers provide advice based on the collector's background, the artist's qualifications, and the multifaceted aspects of the collection. Experienced art brokers have a talent for matching artworks with collectors. They can quickly determine which works are suitable for which collectors. Finally, making choices is crucial. Resources are limited, and you can't collect every piece of art. Establishing your collection context is also an essential part, a pleasure that comes from long-term collecting.

Artemperor: Everyone wants good artworks. How do you deal with galleries to get the works you want? Can you share your experiences?

Wu: Exactly! Everyone wants good artworks. The key is whether you can judge what makes a good artwork. Then comes how to obtain the works you want and whether the gallery is willing to give you those coveted pieces. I often hear people say that works featured on magazine covers are "masterpieces," but not everyone understands what makes them outstanding. Why are they so sought after? If you're just starting, as long as the artwork resonates with you and moves you, it's a good piece. From this perspective, sharing your feelings with the gallery, I believe they will appreciate having a collector who understands. After all, galleries are bridges between artists and collectors, and finding suitable collectors for each artwork is the gallery's responsibility.

If you've already crossed the threshold of being a beginner, it's time to focus on the themes, techniques, and the artist's creative context. This accumulation is not easy, and having a good art broker as a consultant at this stage is very helpful. Since galleries won't easily let go of excellent works, good pieces will be prioritized for esteemed collectors. Therefore, I suggest that collectors maintain a good relationship with galleries, even sharing your future collection plans. Once you become an important collector, galleries will be more willing to proactively offer works to you. Ultimately, you'll find that collectors are also essential art promoters.

Artemperor: How do you perceive the role of galleries? It seems that some collectors prefer to buy directly from artists. What's your opinion?

Wu: The discussion around art collecting is so lively and even desirable because, besides the resonance brought by the art itself, the growth of market trends is also a crucial factor. I believe the key to influencing the market for artists, aside from the works themselves, is the role of promoters—the galleries or art brokers. In daily life, if willing, we can easily appreciate art through galleries and even see highlights from dozens of galleries at art fairs. Behind this is the commitment and effort that gallery operators invest in promoting artists. Through long-term operation and the accumulation of collectors, they help artists gain recognition and visibility in the art market. In other words, galleries consider not only artistic merit but also marketability and future potential. Therefore, whether an artist can gain the endorsement of a gallery is a crucial factor before gaining approval from collectors. In my collecting process, besides considering the artist and the work.

Artemperor