milon & chingyi

milon & chingyi

r y e's 'In Conversation' series is a collection of stories where we pick the minds of our favourite tastemakers and creatives. In this second instalment, we delve into the minds of Milon Goh and Chingyi Chua, founders of Art Again.


Driven by a mission to democratise the way we buy and sell art, Chingyi and Milon launched Art Again to make art accessible to everyone. Their online marketplace connects buyers and sellers of pre-owned art, empowering sellers by sidestepping the traditional complexities and exclusivities of the art world.

With over six years of experience in the art industry, Chingyi is a seasoned art broker. Her expertise is instrumental in shaping Art Again's operations, community, and positioning.

Milon is a lawyer and creative entrepreneur; he oversees strategy, product, and legal matters at Art Again. Balancing Art Again with other commitments, their respective skills blend harmoniously, and what they have accomplished with Art Again in under a year is inspiring.


what inspired you to create Art Again, and how did you envision it shaping the art market?


C: Throughout my career, I’ve encountered art owners struggling to resell art, facing challenges like meeting market trends, high reselling fees, and complicated sales procedures. Individuals also struggle with cataloguing and photographing artworks, ultimately leading to buyer hesitation as they fear the possibility of being stuck with the art they purchase forever. I hope that with Art Again, we can drive fresh interest in the art market, providing economic and moral support for artists, galleries, and collectors by successfully recirculating beautiful artworks currently unseen or undiscovered in private collections.

M: There is a lack of market autonomy among art collectors across the board. The ability to collect art, keeping and transacting it on your terms, is an enticing proposition, and we believe that this offering will help place us at the forefront of the global art-collecting experience.



Chingyi (left) wears the eyelet lace panelled shirt dress in black

Milon (right) wears the lace panelled eyelet shirt in white, paired with the exposed seam wide-legged trousers in midnight


can you share a bit about your career paths leading up to founding Art Again? were there any pivotal moments or experiences that shaped your journey?


C: My extensive experience with art brokering and its related services has helped me acquire technical industry knowledge and market awareness. While there isn't a singular instance that stands out, the culmination of my experiences has taught me that the art business is as much about dealing with the artwork as it is about dealing with people. It is about being sensitive—handling artwork with care, paying attention to historical value, and being mindful of people’s emotions.

M: I was previously a practising lawyer, and I had a strong desire to pursue a career in art law to help artists navigate the challenges they regularly face. Starting Art Again made me realize that there are more effective ways to support artists, namely by helping them develop sustainable creative practices.



what's it like working together and how does your unique dynamic shape Art Again?


C: It’s been a pleasure to be able to work with a friend. We have such different qualities and skills that balance each other well - not to say we are total opposites. Milon's legal and commercial background has helped protect Art Again; although I'm not entirely sure what we're protected from, which is a testament to his effectiveness. Milon always has a great vision for the future, and coupled with his rather positive and self-assured attitude, helps balance my cynical and pragmatic nature, pushing Art Again further.

M: Chingyi is incredibly knowledgeable in her field (everything else I can’t say for sure—she keeps sending me slime videos on Instagram) and is well-connected and highly regarded in the industry. I attribute a large part of how seamlessly we’ve entered into the Singapore market to her. Chingyi is a cynical realist, the perfect counterbalance to my untethered self-assuredness and idealism.





is there a piece of artwork in the Art Again marketplace that has particularly fascinated you? what about it caught your attention?


C: Kiko Escora in charcoal. The artist, who is also a DJ, photographer, and curator captures captivating moments of urban life in his works, where having a good time is the sole currency. This particular work is modern, sexy, and fashionable without being too provocative. Generally, I always enjoy the intensity of a work executed in charcoal.

M: It’s an artwork with little provenance signed “MStubis”. This piece was collected by a late Singaporean modern artist (whose artworks I adore) in the 80s or 90s and is currently being sold by his estate. Laid on a masonite board, the painting depicts a churning seascape in stinging shades of acid green. Illuminated by a crescent moon, the tumultuous scene offers respite for two lovers hidden in the foreground. I enjoy the tactility of the masonite board and the textures it creates; the piece blurs the line between artwork and artefact.



singapore has a burgeoning contemporary art scene. what emerging trends or movements do you find particularly exciting or noteworthy?


C: I see a general inclination towards figurative works and 3D sculptures in various mediums. Personally, I do not believe in following trends. I always encourage buyers to trust their instincts and follow their hearts, even though this contradicts my more pragmatic disposition.

M: Looking at the interest and questions we receive on Art Again’s marketplace, people are starting to look closely at early works by prominent Singaporean artists, both living and deceased. Also, abstract works tend to make attractive acquisitions for first-time buyers.



how would you describe your personal style? do you have a particular go-to item in your wardrobe that you can't live without?


C: My style is simple and practical, and I generally adhere to classic silhouettes. I always love a good pair of jeans, ballet flats, and gold earrings.

M: I dress for the weather. I hated wearing tight, stuffy office clothes when I worked my corporate job; suits are beautiful but just absurd in this weather. I can’t live without my rings; I’m a very fidgety person and love twirling them.



how do you approach curating your personal art collections?


C: I am quite open, and it’s simple for me: I love beautiful things. When it comes to art created by contemporary artists, I observe them (their works, social media, exhibitions) for about 12-18 months to try and form an opinion about them. Still-life works tend to stand out to me because I adore that particular genre from an art historical perspective. I also enjoy works that bring out quieter, subliminal feelings, and works that are relatable or evoke a particular memory or association.

M: I am guided by my ever-changing personal feelings, tastes, and interests. I try not to look too closely at an artist - when I over-scrutinize, and the more I know, the more specific my needs become, and I just end up not buying anything. So I allow myself to completely trust my feelings towards an artwork, even if there are glaring red flags. I like to enjoy my art.


is fashion art? in what ways do you think the art world can learn from the fashion industry, and vice versa?


C: Yes, because fashion also requires grit and honing of skills. I am drawn to the collaborative nature of the fashion industry, something that should be seen more often in the art world—an approach Art Again is adopting. Both industries also need to do more for the environment, starting with reducing waste.

M: Absolutely. Look at Noir Kei Ninomiya or Iris Van Herpen—crazy minds and hours of refinement went into creating those worlds. Attention and obsession over form, technicalities, and craftsmanship. I think the art world lacks the commercial savviness found in parts of the fashion industry. I otherwise echo exactly what Chingyi has said.





what advice would you give to individuals looking to start their own art collection, especially through platforms like Art Again?


C: Attend art exhibitions and browse the internet to gain information about the artist’s practice, their contemporaries, and the context in which they exist. Buy with your eyes and heart, not your ears. I love thinking about how I would describe a work I am inclined towards in one sentence. If the sentence feels true to your brand, aesthetic or beliefs, then I think you should go for it!

M: Trust your instincts, but do your research! Knowing more can help you appreciate an artwork further. Don’t over-scrutinize!



what are your plans and aspirations for Art Again? any new features or initiatives in the pipeline?


C: As Art Again continues to scale up quickly, I hope that we can stay true to our original objective of introducing a transparent, meaningful, and accessible art-collecting experience for everybody. In addition to developing the pre-owned art marketplace, I aim to continue collaborating with inspiring individuals and collectives to execute amazing thematic events, similar to the one we just hosted with r y e.

M: In the near future, we have our first anniversary coming up, and we’re planning something special for it, hopefully sometime in June.





Photography Kah Ying 

Interviewed by Shenali Wijesinghe

Featuring Milon Goh, Chingyi Chua

Special Thanks Bessie YeSarah Kelly Ng



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