Why Beautiful Design Is an Art Form, According to Gallerist Earl Heng
Portrait of Earl Heng. Courtesy of EARLH.
He might not have known it at the time, but Earl Heng was following in his grandmother’s footsteps. An art dealer for nearly two decades, Heng gradually built up an interest in design. But it wasn’t until 2021, when he first showed his gallery’s furniture display to his grandmother on a video call, that he put the pieces together about her time as a furniture designer in Cambodia in the 1960s and ’70s and his own path.
“Having family history kicks the stakes up a notch,” Heng told Artsy from São Paulo, where he operates his gallery, EARLH. In Cambodia, Heng’s grandmother pioneered a furniture production team. She operated a successful store, introducing pieces that featured modern styles before she was forced to flee during the Cambodian genocide in the mid-1970s. Today, this awareness of his family history fuels Heng’s passion for art and design, shaping the vision of his galleries program, where design is placed alongside contemporary art in a location that continues to grow as an artistic meeting point.
A start in street art
Heng traces his roots as a dealer to when he first encountered a street mural in Amsterdam during a backpacking trip in 2001. He began casually collecting pieces from street artists like David Choe, KAWS, Futura, and Banksy. Then, as street art gained popularity among collectors, Heng pivoted, turning his passion into a career in 2006 in Washington, D.C., where he would operate as a private dealer for the next 13 years.
Then, in 2019, Heng visited São Paulo on a whim—a decision that would redefine his career. By April, he had opened his first physical location for EARLH, making it one of the first Cambodian-run galleries outside his homeland. Now, he aims to create a multicultural space that bridges art and design histories from Cambodia, Brazil, and the United States. And it’s all taking place at a particularly pivotal time for the Brazilian market too, he noted.
“The Brazilian art market is growing, and some galleries here are starting to expand internationally with collaborative exhibitions and new spaces,” said Heng. “This will certainly help bring more awareness to the Brazilian art and design scene, not just commercially but institutionally as well. It is only a matter of time before more artists from here get their proper recognition on an international level.”
Taking a design-forward approach
Today, EARLH is a hotbed for both blue-chip and emerging art and design. Chairs designed by the primary designers of the Brazilian furniture company Forma, Carlo Hauner and Martin Eisler, adorn the gallery. Meanwhile, his inventory includes the likes of Ai Weiwei and Andy Warhol, as well as emerging talents such as Brazilian artist Bruno 9Li, also known as Bruno Novellis.
In terms of design, Heng is particularly enthusiastic about key Brazilian figures like Percival Lafer, José Zanine Caldas, and Lina Bo Bardi. He also boasts an impressive collection of works by the increasingly popular modernist painter Chico da Silva, whom the gallerist first came across when he bought his first Jorge Zalszupin chair.
Exhibition view of “Outro Mundo” at EARLH, 2024. Courtesy of EARLH.
Design is increasingly at the forefront of EARLH’s programming, evident in the gallery’s current exhibition, “Outro Mundo,” on view until October 16th. The show features works by da Silva alongside the furniture of Bo Bardi. This show intends to challenge traditional views on art created with assistantship versus individually crafted design, implicating the double standards for artists and designers.
“Chico had assistants help produce his art, and it was an issue, whereas furniture designers have furniture produced by others, and there are no issues,” said Heng. “It is to shift people’s perspectives on how using assistants to produce art can be seen executing a concept/design as well.”
As a collector himself, Heng speaks from experience when he talks about collecting visual art and design works together. His house is decorated with a Lafer MP-97 sofa, a Giuseppe Scapinelli coffee table, and a pair of Zalszupin lobby chairs, to name a few examples.
“Pairing art and design together is a natural progression for art collectors,” said Heng. “The energy and ambiance of a space is dictated not only by what is on the walls but also by what fills the floor. Well-designed furniture can be seen as functional art pieces, ones that you can develop an even more intimate connection with as you interact with them on a daily basis. The beautiful character and patina that develop become hallmarks of a lifetime. Together with the art, they reflect the owner’s style and personality.”
Starting a global conversation
EARLH is strategically positioned in São Paulo, a city rich in multicultural influences and creative potential. At its heart, the gallery is positioned as a nexus for various meeting points, whether it is placing da Silva’s work in conversation with international street artists or pairing contemporary paintings with modernist design works.
“I hope to become a cultural bridge between the U.S., Brazil, and Asia,” said Heng, who aims to open a space in Washington, D.C., and begin collaborating with Asian galleries. “As the world becomes more and more connected, people are becoming more open-minded in what they collect. It’s how I have been collecting for over 20 years, and [it] creates a richer tapestry of a collection.”
And Heng is also dedicated to safeguarding the cultural legacy of his grandmother and his Cambodian heritage. He hopes to carve out a space where his heritage can be preserved and celebrated today. “It’s a huge mountain to climb,” said Heng. “I feel like I am in a unique position to help move the needle, and that it is my duty to because I am very lucky to be here.”
