After three decades immersed in the vibrant art scene of Southeast Asia, collectors Krystina Lyon and Mark Budden are embarking on a new chapter in London. They are bringing with them a profound commitment to fostering greater visibility for women artists from the region through their burgeoning 'Nassim Road Collection'. This initiative seeks to transform their extensive collection into a dynamic hub for scholarly engagement and public appreciation, thereby enriching the global understanding of contemporary Southeast Asian art.
A Curated Vision: Elevating Southeast Asian Women's Artistic Voices in London
In a significant cultural endeavor, Krystina Lyon and her husband, Mark Budden, are relocating to London following a distinguished 23-year period residing in Singapore. This move marks a pivotal moment for their impressive art collection, which has grown to approximately 200 works over the past three decades. The collection meticulously chronicles the evolution of contemporary art in Southeast Asia, reflecting the couple's personal journey as discerning art patrons. Among the notable artists featured are Charles Lim Yi Yong, who represented Singapore at the 2015 Venice Biennale; Maria Madeira, a powerful voice for Timor-Leste at its inaugural Venice Biennale pavilion in 2024; the esteemed British abstract expressionist Albert Irvin; and the British-Balinese artist Sinta Tantra.
For their next chapter in the bustling metropolis of London, the couple has articulated a clear and focused mission: to center their acquisition efforts on the works of Southeast Asian women artists. Lyon emphasizes the critical importance of this artistic focus, stating, “The women artists in my collections are articulating histories, untold stories, and struggles that are important to understanding Southeast Asia now.”
The collection, provisionally named the Nassim Road Collection after their former Singaporean address, aspires to be more than just a private holding. Lyon and Budden envision it as a vibrant intellectual and cultural platform, facilitating deeper research into the historical trajectories of contemporary art within the region. Lyon expresses her hopes for its future, remarking, “It would be nice to make it a place of encounter where students, scholars, and visitors can engage with the collection. Where dialogues around gender, history, and contemporary art in Southeast Asia can continue.”
Their journey as collectors transitioned from an initial focus on home decoration, with early acquisitions like screenprints by Kee Levi, to a more profound engagement with art. After their move to Singapore in the early 2000s, coinciding with their business expansion, Lyon dedicated more time to her artistic passion. Her volunteer work as a docent at prominent heritage and history museums, including the Peranakan Museum, the Malay Heritage Centre, and the National Gallery Singapore, significantly deepened her knowledge of national histories in Singapore and across the region.
A turning point in Lyon's collecting philosophy occurred in 2014 when she volunteered at a major exhibition, “No Country: Contemporary Art for South and Southeast Asia,” at the now-defunct Centre for Contemporary Art. This exhibition, showcasing 19 works by 16 artists and collectives from 11 nations, including Shilpa Gupta, The Propeller Group, and Aung Myint, explored diverse artistic practices from the legacies of political events to perceptions of womanhood. The profound impact of works like Tayeba Begum Lipi’s razor blade bed and Sopheap Pich’s rattan-woven Morning Glory (2011) shifted her focus from heritage to contemporary art. Lyon realized these artists were not merely recounting national narratives but were actively questioning, reshaping, and constructing their own powerful stories.
The shift towards intentionally collecting works by women artists was solidified by Lyon's enrollment in a joint MA program in Asian art histories. Her academic research revealed compelling patterns and urgencies in women’s art collectives, prompting her to dedicate her resources to building a collection with substantial depth and coherence. An early acquisition reflecting this renewed focus was Octora Chan’s Ad Infinitum (2019) in 2021. Chan's work critically examines how colonial-era ethnographic portraits continue to influence contemporary gender perceptions in Indonesia. Lyon's fascination with Chan's layered narratives led to the acquisition of another piece in 2024, Recoup 1920: wuorv egnoj (2023), a tapestry that powerfully reclaims agency for Balinese women from a colonial gaze.
For Krystina Lyon, art collecting transcends mere ownership, evolving into a profound commitment to dialogue. This philosophy is a direct reflection of her more than three decades of experience living in Singapore. Her dedication extends beyond simply acquiring artworks; she plans to loan several pieces to museum exhibitions in London and Boston next year, broadening their reach and impact. The culmination of her extensive research and refined collecting philosophy will be unveiled next year with the publication of her book, You Are Seen: Women’s Contemporary Art Practices in Southeast Asia. This forthcoming volume, slated for release alongside the Art SG art fair in January, will shine a spotlight on 35 women artists from nine ASEAN countries. Drawing from her personal collection and featuring both established and emerging talents, the book serves as a crucial vehicle for Lyon's mission. She states, “The aim is not to speak for these artists, but to amplify the resonance of their work. I hope to continue this journey through speaking, writing, and sharing the collection so that others can encounter them, too.”