Thanks to Olive Art

Interview with Elsa Wang — Building a Bridge Between Rationality and Sensibility in Art

Original M Olive Art 2025.03.20 12:01 Shanghai

2025 Dirk Salz：Dimensions of Light and Color
Bluerider ART Shanghai·The Bund

In 2013, Bluerider ART was founded in Taipei. Named after Wassily Kandinsky’s Der Blaue Reiter (The Blue Rider) art group, the gallery pays homage to its spirit of "defending the soul" through art. From its humble beginnings in Taipei’s alleyways to establishing a presence on the Bund in Shanghai and in Mayfair, London, Bluerider ART has gradually built a bridge connecting Eastern and Western contemporary art, showcasing works with both aesthetic depth and collectible value.

At the start of 2025, Bluerider ART’s Shanghai space presented the first solo exhibition in Asia by German artist Dirk Salz, titled Dirk Salz：Dimensions of Light and Color. Using resin as his medium, Salz creates profound abstract color blocks that produce an optical illusion-like visual effect, offering audiences an entirely new sensory experience to kick off the art season.

During the exhibition’s opening, we had the opportunity to sit down with Elsa Wang, the founder of Bluerider ART. Transitioning from the tech industry to the art world, she has leveraged her keen aesthetic judgment and business management expertise to strike a balance between these seemingly contrasting fields, developing a unique gallery operation model. Now, as Bluerider ART steps into its second decade, how does it continue to explore the interplay between globalization and localization, tradition and innovation? And what are its plans for the future in 2025?

Q&A

Bluerider ART founder
Elsa Wang

You made a significant career shift from the tech industry to the art world. What inspired you to establish Bluerider ART Gallery?

Elsa Wang：

Before founding the gallery, I spent ten years aspiring to be an artist. The tech industry is fast-paced and high-pressure, and after retiring, I felt completely drained. I turned to art, hoping to become an artist myself. I started with photography, held exhibitions, and even published a photography book.

However, becoming an artist is incredibly challenging. Over those ten years, I developed my own aesthetic standards, but I also came to a clear realization—I could become a good artist, but not an excellent one. Given that, I decided to use my appreciation for art and the marketing and management skills I had acquired in the tech industry to promote truly outstanding artists. That’s how Bluerider ART came to be.

The gallery's name comes from Der Blaue Reiter, the art movement founded by Wassily Kandinsky. The artists in that group had diverse styles, but they all created from the depths of their souls, earning them the title of "knights defending the spirit." Kandinsky had a profound influence on my own artistic journey, so I had no hesitation in naming my gallery Bluerider ART, with the hope of continuing that legacy.

The tech industry emphasizes rational thinking, whereas the art world is driven by emotional expression. Have you ever experienced conflicts between these two ways of thinking?

Elsa Wang：

At first, absolutely. The tech industry is results-driven, with everything measured by SOPs and KPIs, and costs are easily quantifiable. The art world, however, is the complete opposite—an artist’s value and costs cannot be simply measured by numbers.

When I first transitioned from tech to art, it felt like being on a seesaw—one side was extreme rationality, and the other was extreme sensibility. I often joke that if rationality and sensibility could be physically separated by the left and right hemispheres of the brain, it would only be a 10-centimeter gap. But it took me ten years to find my own balance.

Running a gallery isn’t as simple as applying tech industry management models. It took me about five years to develop a system that suited the gallery world. Many gallery owners personally engage with collectors, but if you want to scale up, relying solely on personal connections isn’t sustainable. Establishing an effective management model tailored to the art business is crucial.

What kind of management model have you developed? Could you share more details?

Elsa Wang：

Unlike traditional corporations, galleries don’t require a large, multi-layered organizational structure. Instead, a streamlined and flexible framework is more suitable, allowing us to adapt to different functions and needs. Our team is relatively small, but the workload is highly diverse, so our structure must remain agile.

I often joke that everyone in our gallery is like an octopus—handling multiple tasks at once. That’s why I call our model the “Octopus Management System.”

Bluerider ART Taipei·DunRen

Bluerider ART was first established in Taipei. What led you to expand to Shanghai and London?

Elsa Wang：

Bluerider ART was founded in Taipei in 2013. At the time, the local market primarily focused on Taiwanese and Japanese artists, while we were among the few galleries representing contemporary artists from Europe and the U.S. However, as the international art market became more accessible, Asian collectors began showing greater interest in Western artists. This encouraged us to expand further.

We chose Shanghai primarily for strategic market reasons. Since we focus on representing European and American artists, Shanghai’s high level of internationalization made it a natural fit. Additionally, my father is from Shanghai, and during my years in the tech industry, I frequently traveled to the city. This personal connection made Shanghai feel familiar and welcoming.

As for London, many of the artists we represent live and work in Europe, and in some cases, we would only get to meet them once every two or three years. Having a London base allows us to maintain closer communication and secure their best and latest works. We chose Mayfair as our location because it’s a prime district where top international galleries are concentrated. Setting up there was a way to test whether the quality of our exhibitions and artist selections could stand up to global standards.

London·Mayfair

How do the collector communities and market atmospheres differ between Taipei, Shanghai, and London?

Elsa Wang：

These three markets have distinct characteristics.

Taipei has one of the most mature art markets in Asia. Collectors here are experienced, with a well-developed culture of collecting. Their tastes lean toward East Asian realism, and given their past experiences with economic fluctuations, they tend to be cautious in their purchasing decisions. They have strong independent judgment and are less likely to follow trends blindly.

Shanghai’s market is relatively young, and its collectors are dynamic and open to experimentation. The city hosts numerous museums and art fairs, providing constant stimulation. Collectors here are more receptive to diverse artistic mediums and styles and are generally bolder in their acquisitions.

London, on the other hand, has a much older and more established market than Asia, which makes it both more conservative and more mature. Given the current economic climate, collectors in London tend to be polarized—they either invest in top-tier artworks or opt for more accessible, mainstream pieces.

What is Bluerider ART’s positioning? Which artists do you represent?

Elsa Wang：

Our primary focus has been on representing contemporary European and American artists, particularly those over 50 years old with well-established styles. Most of the artworks we handle are priced within RMB 1 million (approximately USD 140,000), placing us in the mid-to-upper segment of the market. Our philosophy is to bring art into homes and everyday living spaces, making it more accessible to a wider audience.

2024 Hope is the thing with feathers - Post-85s Chinese Youth Artist Open Call Exhibition
Bluerider ART Shanghai·The Bund

However, as Bluerider ART enters its 12th year, we have gradually broadened our selection of artists. We have started to include more young Chinese artists in our roster. For example, last year, we hosted the Post-85s Chinese Youth Artist Open Call Exhibition and selected four young artists for representation. This year, we are preparing for the second edition of this initiative. Another example is the artist Cao Jigang, whom we represent. His works transcend national and cultural boundaries, making them universally resonant. As a result, our focus has shifted beyond just an artist’s nationality or background—we now pay greater attention to the content and essence of their artistic creations.

What are your core criteria when selecting artists?

Elsa Wang：

Simply put, there are two main criteria. First, the artwork must possess aesthetic appeal. This isn't just my personal judgment—it should resonate with a broad audience. Second, the work must have collectible value, as we have a responsibility to our collectors.

Collectible value can be assessed from various perspectives. If viewed as an investment, it's certainly not a short-term one; rather, it's a commitment of 10 to 20 years in an artist’s career. This is why we primarily represent artists over 50 years old, whose styles have matured.

A great artist must possess three essential qualities: talent, hard work, and opportunity. By the time an artist reaches 50, the first two qualities have usually been proven. Without talent and perseverance, they wouldn’t have made it past 40 in the competitive art market.

Opportunity, however, is the hardest to predict. Take Yayoi Kusama, for example—she only gained widespread fame after turning 70. Sometimes opportunities arise naturally, and other times they are created by circumstances. While we can’t fully control this factor, we can ensure that an artist has the capability and foundation to seize opportunities when they arise. This stability is what makes an artist a more secure choice for collectors, rather than just a fleeting trend.

If the starting point is not investment but personal appreciation, then the artwork must be able to move people emotionally. The creative concept needs to be unique and profound enough so that collectors will never realize after purchasing that the piece is suspected of imitation or plagiarism.

We often hear discussions about an artist’s place in art history, but I personally believe that art history is mostly written in hindsight. Contemporary artists often struggle to gain full recognition from society because they are creating the future. Many great masters in history did not receive enough attention during their lifetimes and were even misunderstood. Therefore, we do not place much emphasis on positioning within art history.

Why was Dirk Salz’s solo exhibition chosen as the opening show for Bluerider ART Shanghai．The Bund this spring?

Elsa Wang：

We have been representing Dirk Salz for some time, and this is our first solo exhibition for him. His works are visually distinctive—with minimalist compositions, rich colors, variations in light, and innovative use of materials. He uses resin as his medium, which is an extremely challenging material to work with; the creative process must be free of dust and air bubbles, resulting in a final presentation of ultimate beauty.

As the first exhibition of the year’s art season, we hope to bring fresh and captivating works that awaken the audience from the stillness of winter and introduce them to a new visual experience.

2025 Dirk Salz：Dimensions of Light and Color
Bluerider ART Shanghai·The Bund

What is the most moving aspect of his work for you?

Elsa Wang：

Purity and rationality. His creative process is one of extreme rationality. Although he works with resin, he still considers himself a painter—just one who doesn’t use brushes but instead constructs his compositions with resin. His work has an incredibly smooth surface, with no visible brushstrokes or emotional traces. He aims to remove personal emotions from his pieces as much as possible, allowing the audience’s own emotions to enter the artwork.

From a distance, you are drawn in by the colors and composition. As you step closer, you notice the glossy, reflective layer on the surface, mirroring your own image.

Of course, his use of color is also highly captivating—so much so that it might even give people the urge to lick it (laughs). Many collectors face high work-related stress, and they don’t want artwork that feels overly complex; they simply want something visually soothing. Dirk Salz’s works are exactly that—art that brings an immediate sense of peace and pleasure at first glance.

What new plans and expectations do you have for Bluerider ART in 2025?

Elsa Wang：

2025 is a breakthrough year for us. While audiences in Shanghai may not yet feel the shift, those in Taipei have already noticed significant changes.

First, we are making new attempts in our selection of artists. For the opening exhibition of Taipei•DunRen this year, we introduced four post-85 Chinese artists for the first time—something we had never done before. Additionally, we curated an exhibition titled Tiangong Kaiwu: Exploration of Prints and Drawings, featuring over a hundred works by 20 to 30 artists. The exhibition includes pencil sketches from the 1990s by Cao Jigang, works by Tracey Emin, prints by Takashi Murakami, and waterdrop prints by Korean artist Park Seo-Bo, among others—many of which are rarely seen even in museums. Some of these artists had never been featured in our exhibitions before, but their work fit thematically, so we included them.

The response from Taipei audiences has been overwhelmingly positive. People had become accustomed to a fixed exhibition format, so when we introduced new possibilities—whether through different mediums or younger artists—it brought a refreshing sense of excitement.

2025 Tiangong Kaiwu: Exploration of Prints and Drawings
Bluerider ART Taipei·RenAi

Another significant change is the adjustment to our Taipei space. We plan to merge our two existing spaces in Taipei into one larger exhibition area this June. This is not just an expansion of space; it also signifies our shift from a "lane culture" to a "city gallery" model. Taipei's lane culture carries a sense of understatement and simplicity, while the new space is located on Dunhua South Road, an A-level commercial district, which will bring a different overall atmosphere and tone.

This transformation will not only impact Taipei but will also influence our operations in Shanghai and London. In the past, we would present the same artists across three different locations. Once the Taipei model changes, the exhibition strategies in other regions will also be adjusted.

Bluerider ART is entering its second decade, and during this decade, we aim to create a platform that fosters cultural exchange between the East and the West. We also want to explore more flexible gallery operation models. As for what form this will ultimately take, it’s still difficult to define, and it may take another year or two to present a clearer vision.

-Current –
Dirk Salz：Dimensions of Light and Color

-Exhibition Date –
2025.03.08-2025.05.04

-Venue –
Bluerider ART Shanghai·The Bund
133 Sichuan Middle Road, Huangpu District, Shanghai, China

Thanks to Olive Art for the interview