MEET THE DEALER
Mark Slaats
Director, Slaats Fine Art | Chairman, Asian Art in London
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Founded in 2016 by Mark Slaats, following seventeen years as a partner at the highly respected Asian art advisory firm Littleton & Hennessy, Slaats Fine Art has developed a rigorous and cross-period approach to Asian art, spanning antiquity to the present day. The gallery advises private collectors and institutions on acquisitions, valuations and collection strategy, underpinned by a thorough understanding of the international market and its regulatory frameworks.
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Appointed Chairman of Asian Art in London last December, Mark Slaats is today recognised as an active figure within the international Asian art landscape. He will exhibit from 5 to 8 June at Galerie Charpentier on the occasion of the ninth edition of Printemps Asiatique Paris.
Slaats Fine Art has established itself as a reference in the field of Asian art. How would you describe the gallery’s identity and your curatorial approach today?
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The gallery is firmly rooted in Asian art but works fluidly across mediums, cultures and time periods—from important antique works to modern and contemporary practices. Our exhibitions are designed to create dialogues, using different media to tell stories that remain relevant and engaging today.
What inspires me most is the extraordinary range of Asian art and the way ideas, materials and techniques move fluidly across time and borders. You see this in the contemporary work of Yinglong Li, whose plique-à-jour practice is deeply rooted in the traditions of Chinese cloisonné as well as Western enamel, and in the continued use of lacquer in both China and Japan. In the same way, ink painting has remained a living tradition—from antiquity and modern masters like Zhang Daqian through to the work of contemporary artists across Asia today.
Yinglong Li
Illuminated Traditions II
After a long career at Littleton & Hennessy, you founded Slaats Fine Art in 2016. What motivated this transition, and how did it shape your vision as an independent dealer?
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After many rewarding years with Littleton & Hennessy, I felt it was the right moment to create something more personal. Founding Slaats Fine Art allowed me to shape a programme driven entirely by my own passions and interests, particularly in the broader Asian art markets across different periods.
You will be exhibiting from 5 to 8 June at Galerie Charpentier. For its ninth edition, Printemps Asiatique Paris reaches a significant milestone in its development by relocating its Asian art fair to Galerie Charpentier after four years at the Pagoda on rue de Monceau. How do you envisage your presentation this year?
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Paris has always been an important moment in the Asian art calendar for us and exhibiting at the Pagoda in 2025 was particularly memorable. The building itself carries a strong sense of history, with Asian art embedded in its identity.
For 2026, however, we are especially excited to be part of this next chapter in the development of Printemps Asiatique Paris. The Galerie Charpentier is an exceptional venue and we plan to present several emerging contemporary Asian artists, shown in dialogue with Chinese works of art and sculpture. Creating these cross-period conversations is very much at the heart of our curatorial approach.
A rare imperial cinnabar lacquer ‘Buddhist lions’ treasure box and cover (Qianlong six-character and Suanni Baohe four-character marks and of the period).
Your work spans ancient and contemporary Asian art. What guides your eye when you encounter a work for the first time?
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Quality and talent are timeless. Whether looking at a sixth-century Northern Qi stone sculpture or a contemporary painting, the artist’s or craftsman’s mastery shines through. Above all, art should evoke emotion — that immediate, instinctive response.
You were recently appointed Chairman of Asian Art in London. What are your ambitions for the platform and for London’s Asian art scene more broadly?
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Asian Art in London plays an important role in bringing together dealers, collectors, curators and institutions from around the world, and has been instrumental in reinforcing London’s position as a major hub for Asian art.
One of its key strengths is the breadth of expertise represented each year by participating galleries and auction houses. Contributors are leaders in their fields, from Indian and Islamic art with Runjeet Singh and Amir Mohtashemi, to Chinese antiques and textiles with Eskenazi and Jacqueline Simcox, alongside contemporary programmes from galleries such as Schoeni Projects and Lloyd Choi Gallery, to name just a few.
As we approach our 30th anniversary, we look to the future with the ambition to build on this strong foundation; encouraging greater collaboration, broadening engagement and ensuring that London remains a dynamic and prominent centre for all Asian art.
How do you see the relationship between Asian Art in London and Asia Week Paris? In what ways are the two events complementary?
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Both events are part of a wider, close-knit international community of Asian art specialists and enthusiasts.. They complement one another by engaging distinct audiences while sharing a common commitment to scholarship, quality, and meaningful dialogue. Strengthening these cross-border connections is essential to sustaining Europe’s role as both a historic and forward-looking hub for Asian art.
Looking ahead, how do you envisage the dialogue between Paris and London around Asian art evolving in the coming years?
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We are living through a period of significant global change and collaboration has never been more important, in all areas of life.
In Asian art, building on long-standing relationships with our colleagues and friends in Paris and across the continent, we see significant potential for deeper cooperation. As collectors and institutions move fluidly between London and Paris, opportunities for shared initiatives, cross-institutional dialogue and joint projects will continue to grow, further reinforcing Europe’s role within the global Asian art landscape.
Ultimately, art has the power to unite us all; providing purpose and connection that transcend borders, differences and challenges.
We often conclude our interviews with a recent artistic favourite — a work of art, a place, an exhibition, or a book. Would you be willing to share yours with us?
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I am particularly inspired by exhibitions that place historical Asian works in dialogue with contemporary art. Making these connections visible and intelligible, across time, cultures, and mediums, continues to reaffirm why this field remains so compelling.
A recent example is the V&A’s exhibition Dimensions: Contemporary Chinese Studio Craft, which opened in November in close collaboration with ‘Asian Art in London’. The exhibition traces the development of studio craft in China since the 1980s, revealing the many dimensions of contemporary practice in porcelain, glass, lacquer, metalwork and textile, while clearly referencing and building upon China’s long-standing craft traditions.
CONTACT
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